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Gears of War: E-Day Preview: Everything you need to know from the Xbox Games Showcase & Direct

oliver@gamereactor.eu (Oliver Thulin) — Mon, 08 Jun 2026 17:00:00 +0200

Vancouver-based The Coalition has lived and breathed {Gears of War} for over a decade now, ever since before they were even called The Coalition and were known as Black Tusk Studios. It was in 2014 that Microsoft bought the franchise from Epic Games and tasked Black Tusk with creating the next instalment in the series alongside series veteran Rod Fergusson. Just over two years later, {Gears of War 4} was released and proved that the series was in good hands. This team understood Gears of War and took the story in a new direction, with new protagonists and new enemies. Three years on, they left fans with a proper cliff-hanger in {Gears 5}, where Kait is forced to come to terms with her troubled family history and the loss of a close friend. Most of us probably expected the next game in the series to continue along those lines, but instead The Coalition chose to look back to the day humanity on the planet Sera first came into contact with the subterranean threat known as "the Locust". The notorious E-Day.

It's set on the planet Sera before the destruction.

As {Gears of War: E-Day} begins, our old friends Marcus Fenix and Dom Santiago have barely had time to get used to the fact that they are no longer at war. The people of Sera had been locked in bloody conflict with one another for almost eighty years even before they realised they shared their planet with bloodthirsty, drooling monsters. The inhabitants of Kalona, the city in which the entire story unfolds, are celebrating what appears to be a move towards a time of peace when the ground beneath their feet splits open, revealing that the future looks anything but peaceful. The bloodbath becomes a reality before anyone even realises what's happening, and whilst most flee in panic from the monsters, Marcus Fenix and his companions charge towards them, perhaps on pure instinct, as war is the only thing they know.

The aim of the story this time is clearly to give fans of this now 20-year-old Xbox series an intimate, first-hand account of the precise moment when the world changed irrevocably and devastatingly for Sera's people. We've heard plenty about E-Day throughout the games, but this will be the first time we actually get to experience the transition from bright prospects to a pure hellish apocalypse alongside the characters. But The Coalition also wants to delve deeper into Marcus and Dom's relationship, before they became the best mates we've always known them to be. It was Dom's older brother, the tragically deceased Carlos Santiago, who was Marcus Fenix's best friend during the war. The name may not ring a bell for everyone, but those who have read Karen Traviss' books will know the story. Gears of War: E-Day will tell the story of two people who have both lost someone they love but haven't quite had time to bond with each other yet. The game will therefore not only be an origin story for the Locust War, but also for the brotherhood between Marcus and Dom.

We'll get to know a new, younger Marcus Fenix.

The two grieving soldiers are joined by two newcomers: Mags Carter, a former COG soldier now working at an Imulsion refinery, and Lucas Reyes, an eager but inexperienced COG cadet. Together, the four young war veterans form "Bravo Squad", having found themselves together by pure chance when disaster strikes. The game's narrative never strays from this group's perspective, despite the Locust attack on humanity being a global event, as The Coalition aims to keep the narrative focused on a specific group of people in a specific place, which will hopefully help make the story more personal and intimate. We know the game depicts three days in the town of Kalona, and Studio Brand Director Nicole Fawcette describes the story as having three emotional acts: "The first day is confusion and fear - the ground has opened up and no one understands what is happening. The second day is regrouping, establishing contact with the military, forming the group, and launching missions. Day three is desperation, as it becomes clear that this is not an isolated incident. This is a life-changing, world-shattering event."

We'll see the conflict begin as what is assumed to be a chaotic attack by mindless monsters, only for it to become clear that it's a deliberately targeted act of war by an organised army. It starts with bestial wretches, then escalates to drones, which are more humanoid, and it only gets worse from there. At one point, Dom turns to Marcus and says "They're firing back. They're making weapons. They can bloody well talk!"

Of course, we'll get to see a familiar face or two again.

In terms of gameplay, fans will feel right at home. Moving from cover-to-cover is still the be-all and end-all, but the so-called "cover system" has been revamped to support a wider range of cover options and offer smoother transitions to and from them. Player characters can now also slide along the ground from the running animation, whether it's sliding under objects in the environment, around corners, or behind cover. And perhaps most revolutionary of all: our heroes can now jump! This opens up a certain degree of verticality in the level design, and in the gameplay presentation we saw at the Xbox Games Showcase 2026, Marcus was shown climbing onto shelves and other tall objects that, in previous games, had been used exclusively for hiding behind.

Just because Gears of War: E-Day is a so-called prequel doesn't mean we won't get brand-new weapons to play with. The most brutal results come from "the Incinerator", an Imulsion-firing shotgun that melts the skin off the poor sod who happens to be on the receiving end when the trigger is pulled. The Coalition has also showcased the aptly named "Gut Puncher", a grenade launcher that gives the user control over when the explosive device detonates by releasing the trigger. Old favourites are making a comeback too; the "Gnasher" is still your best friend in close combat, and we'll witness the birth of the iconic chainsaw-equipped machine gun known as the "Lancer", whose raison d'être perhaps wasn't quite there before the Locust army chose to make its presence felt.

The Coalition is one of the industry's leading graphic design studios.

Multiplayer is also a key feature in a Gears game. We know that the campaign will be playable online with up to four players and locally with two via split-screen. The popular Horde mode is also getting a major boost in what The Coalition calls "Horde Siege", where a full twelve players, split into three groups, defend larger maps than before against the subterranean threat. Fans can also look forward to good old-fashioned deathmatches, where two teams of four players face off in intense battles on symmetrical maps. The new movement options will definitely open up entirely new ways to blast your mates with shotguns. We won't have to wait much longer to get a taste of the action either as The Coalition has promised that we'll be able to try out the game's multiplayer component as early as August when they launch a public beta.

Gears of War: E-Day is the first Gears game that The Coalition has created without reusing a single asset or animation from previous titles, as absolutely everything we see in the game has been built entirely from scratch in Unreal Engine 5. Development began with "a blank hard drive", according to Studio Technical Director Kate Rayner. "We literally rebuilt everything", she says, "characters, enemies, weapons, animation, sound, the world itself". Some on the team would say that it's a bit of a relief not to have anything inherited from older titles, as it allows them to focus on what Gears of War should be in 2026 rather than iterating on old designs.

The new technology offered by Unreal Engine 5 also allows The Coalition to make the game world more immersive than ever before. The city of Kalona has been lovingly and meticulously crafted to feel like a real place. Gears of War: E-Day is not set in an open world, but the team's level designers have created the world as a cohesive, integrated space. The hope is that this will make the city's destruction feel more intense. Gears players are used to navigating the ruins of abandoned metropolises ("destroyed beauty" was a design mantra during the development of the original), but this time we'll see a living city destroyed in real-time. Lights are still on in homes, meals are left uneaten, cars are abandoned, Kalona is treated by The Coalition as a character in its own right, with a story to tell. They want us, the players, to form an emotional connection to all the loss and devastation that the world's inhabitants are subjected to right before our eyes.

Launching on October 6 for PC and Xbox Series S/X, and it's included with Game Pass.

It's clear that the studio is taking this historic event within the Gears universe as seriously as possible, and their ambitions extend beyond simply taking fans on a bombastic roller coaster ride filled with comical over-the-top violence and cheesy one-liners. They also want to touch our hearts and delve deeply into the characters' traumas, they want to maintain the spirit of the series and carry forward the original game's edge, whilst at the same time modernising the formula in meaningful ways. Personally, it feels a bit unsettling to leave the characters from Gears of War 4 and 5 and their conflict completely unresolved, but at the same time it's easy to see what drew the team to E-Day. As a fan of the series from day one, I've often wondered what the sequence of events might have looked like for those who were there and witnessed it, and it's hard to argue that JD Fenix, Kait Diaz, and Del Walker have had the same impact as protagonists like Papa Fenix and his crew.

Perhaps this is exactly the right direction to take right now. Looking back isn't always synonymous with moving backwards, after all. In any case, it's clear that the story of humanity's first harrowing encounter with the Locust army is something The Coalition needs to get off its chest. The enthusiasm for the project is palpable, both in what we've seen of the game and in the interviews conducted with the developers. Gears of War: E-Day certainly looks set to be a strong game, but we'll have to wait until October to find out exactly how strong, when it's released on Xbox Series S/X and PC on October 6.

Prelude Dark Pain Preview: Impressions from the hour-long demo

alejandro@gamereactor.eu (Alejandro "Deemon" Fandiño) — Mon, 08 Jun 2026 13:00:00 +0200

We've made it to June, and so the not-quite-E3 season is upon us: with showcases galore and Steam Next Fest happening in around a week, it can be easy to lose track of all announcements and demos, but it can also be the perfect opportunity to try out new-found lil' gems that make their first appearances during the season.

Case and point, Prelude Dark Pain has unveiled its demo, and while Quickfire Games' Early Access project is still without a proper release date, this paints an excellent picture of the kind of stylish, medieval tactical action that's ahead of us.

The hour-long demo is only made up by the first story segment—which makes up the game's initial tutorial—and an extra battle that shows the systems and character abilities with more depth, but one thing that is more than obvious during its short runtime is the sheer strength of its visuals.

Everything immediately pops, and it does not lose steam in motion. The easiest comparison would be Darkest Dungeon's own animation style, but Prelude Dark Pain does not limit its inspirations to one single game, as the phantom of comic books and graphic novels looms large with a strong foundation of sharp lines and inking à la Hellboy can be felt at every corner, and I mean it in a good way.

There's still some work to be done on the presentation as a whole: a few animations feel a tad bit choppy and I found the music that's in here kind of generic and repetitive—some of the loops could definitely be improved—but everything pertinent to the visual design, from the characters to the vignette style cut-scenes breathe dark fantasy serialised comics.

Even beyond its looks, it's certainly not a bad time. I have a soft spot for turn-based strategy games and their focus on positioning, and what Prelude Dark Pain presents is both very direct and potentially awesome if future battle stages lend themselves to the opportunity. Both the story segment and the extra battle put a lot of their focus on uneven terrain and rewarding movement and ability usage to insta-kill some enemies, incentivised by the extrinsic rewards that come in the mission objectives and the pure pleasure of getting an annoying group of enemies in potentially one turn.

This has the risk of become repetitive, with movement being conditioned only by the spaces that give some kind of extra bonus or the ones that'll eliminate an enemy in one shot, and even in the final section of the demo I felt how some of the secondary effects became inconsequential due to how easy it was to prioritise the faster kill in some cases, but that's where the extra battle comes into play, and I wouldn't be surprised if they added it to show just how much more the combat system can be.

Toying around with elevation advantages and way more abilities was a treat, some in particular opened many more doors in regards to enemy management and positioning, like more area attacks and a turret that acted as an extra damage output with its own turn, and there's one extra character exclusive to that battle that I found incredibly creative, and if that's the kind of bar the future will set, then this cast will be a treat to play around.

It's a promising first impression; it'll still be somewhat threatening to newcomers due to the genre's own nature, but past the numbers and options, this introduction felt incredibly accessible and fun, and there's quite literally nothing to lose in giving it a try.

Prelude Dark Pain's demo is already available on the game's Steam page.

Planet Zoo 2 Preview: An ambitious sequel that elevates the Planet formula

ben@gamereactor.eu (Ben Lyons) — Sun, 07 Jun 2026 23:59:00 +0200

Last week, Frontier Developments officially announced the long-awaited sequel to Planet Zoo. Considering Planet Coaster relatively recently got a dedicated sequel, it wasn't exactly a surprise this game was following suit, but nonetheless, getting to see how Frontier had expanded and improved on its Planet formula in a zoological sense led to a compelling reveal.

So yes, Planet Zoo 2 is real and on its way, with the game set to launch on PC, PS5, and Xbox Series X/S this autumn on October 13. We've seen the announcement trailer, we know that the game is debuting at a rather affordable cost of £39.99 for its standard edition, and now we can build on all of this further by also sharing some hands-off impressions after attending a demo session led by the talented folks over at Frontier.

Immediately, after being dropped into this guided gameplay session, the first thought that stood out was simply how beautiful this sequel appears from a visual standpoint. The Planet series has never been ugly, but the leap from Planet Zoo to Planet Zoo 2 feels similar to the jump from HD to 4K. Every shred of detail, be it the rugged hide of an alligator, the individual feathers of a toucan, the way light refracts while underwater, how each and every curve of rocks and terrain stand out, even the added detail of the tourists and park visitors, everything is much higher quality.

This is so immediately noticeable as Planet Zoo 2 is run on a new version of Frontier's Cobra Engine, which has enabled the developers to offer a "huge leap" in visual fidelity, but also to tap into advanced lighting techniques that by extension means an improvement to shadows, occlusion, general illumination, all elements that combine with the enhanced resolution to make for a game that is quite simply stunning. And I really do mean that as this game truly looks the part.

The improved visuals aren't just hollow improvements to graphics and lighting either, as the finer details shine through, with animals looking livelier than ever, biomes and park locations feeling almost real-world-like, water bodies receiving a massive upgrade. And again, this isn't just the appearance changes of the various elements, as Frontier has looked to improve the physics, animations, and mechanics at the heart of the game.

What I mean by this is now animals move more dynamically, shifting between areas they can actually reach without needing to have hard-coded and rather robotic tendencies in place. Creatures will express greater emotional ranges and body movements that depict how they are feeling and what they need to feel satisfied and truly well kept. This could be as simple as a chimpanzee climbing more freely or opening a banana while hanging upside down, or even a tiger cooling off by lying in a pool of water. The point of these features is to make it so the player doesn't actually need a UI to tell them how an animal is feeling, as simply studying the creature should be enough.

This then applies to the other broader park elements of this sequel, namely dedicated aquariums and aviaries. Yep, you can now keep birds and sea life in dedicated enclosures you can freely customise, where the creatures will also act dynamically, with birds perching wherever they can and sea life moving through underwater archways. The one catch with this dynamic behaviour is that cohabitation can lead to grisly results, meaning you might want to be careful about keeping birds of prey in the same area as defenceless avian species, with the same applying to sea creatures.

With these enclosure types in mind, Frontier has hugely improved its construction suite so that players have greater freedom with how they place and manipulate items to design a truly one-of-one park. It's all still designed to be intuitive and accessible, but now you can scale and curate items to your liking, even tweaking interiors of buildings or placing community-made Workshop Blueprints, with this feature now embedded into the main browser tool. And speaking earlier about dynamic animal behaviour, the same word applies to the enclosure construction, as Frontier has placed an emphasis on customisation, meaning if you want to tweak an area, you can do so without needing to knock it down and restart from scratch. For example, you might want to increase the height of your aviary's netting, a process that requires extending the support beams. Now you can quickly do so without needing to remove all of the respective other support beams first, as the game will dynamically adjust to each change you make. It's hard to see any of these design tweaks as anything other than positive improvements.

Still, at the game's core is the Planet Zoo experience we all know and love. The aim is still to design a functioning zoo that is financially stable, entertaining for visitors, but also safe and suitable for the creatures it houses. This is all preserved but now there is greater detail, greater mechanical depth, more lively animals and guests, and even ways for you to enjoy the next stage of each and every animal's life. What I mean is Frontier has a world map in place that offers not just locations to build zoos, but also actual nature reserves where you can relocate your animals and release them into the wild to live out their days in their natural habitat. We got to see Africa's Great Rift Valley reserve where zebras and other iconic creatures roamed free with next-to-zero noticeable human presence. It's a lovely way to elevate the conservation portion of the Planet Zoo journey.

So long story short, it seems like Frontier has knocked it out of the park with this sequel. The studio is immensely talented at making these types of games and this sequel just goes to show how it continues to iterate and improve on an established formula that works. Zoo Tycoon may be a thing of the past, but Planet Zoo is a worthy successor series and this sequel might just be one of the greatest zoo simulation games we'll have the luxury to play. And there's where the catch does lie as we have yet to go hands-on with Planet Zoo 2 yet, so stay tuned for more as we head towards launch in October and no doubt get to see more from this project.

Spyro: A Realm Beyond Preview - 6 things worth noting from the announcement

ben@gamereactor.eu (Ben Lyons) — Sun, 07 Jun 2026 20:00:00 +0200

It's finally happening! After almost 20 years, Spyro the Dragon is returning and getting a brand-new game, this time developed by the masterminds behind the Spyro: Reignited Trilogy. Fresh from splitting from Activision and regaining their independence, Toys for Bob has been hard at work making a new chapter in the wider saga, a return to form for the iconic purple dragon, as has just been revealed at the Xbox Games Showcase.

The reveal was brief, offering a trailer that merged CG animation with snippets of gameplay, but we also had the luxury of attending a recent presentation featuring Toys for Bob developers that shined a brighter spotlight on the project. With this being said, here are six things worth keeping in mind from the Spyro: A Realm Beyond reveal, with the added caveat that we have not yet seen anything more from the game than you have, or had a chance to play the title yet.

1. Spyro will be facing off with a "new evil", with no sign of key allies

At the start of the trailer, it's specifically mentioned that Spyro will be facing off with a "new evil". This all but rules out a return of Malefor, Ripto, or a past threat Spyro has faced off with, truly kicking off a new era for the purple dragon.

Similarly, the trailer did not show any sign of Sparx or any of Spyro's other key allies, begging the question as to whether any of these supporting characters will make an appearance. What Toys for Bob did clarify was that this game was very focussed on Spyro, so don't expect to be playing as any other characters in this chapter.

2. A Realm Beyond is regarded as an "entry point for new players" but also "full of legacy" for veteran fans

Building on the point above, the reference of this game being an "entry point" does suggest that the past lore and adventures will be treated as just that... the past. There will no doubt be nods to Spyro's former endeavours, but we shouldn't expect a game that is built on foundations decades old, as this very much seems to be a rebirth (a 'reignition', if you will) of the purple dragon.

3. "Active flight" mechanics seem to be incredibly important to the wider whole

Toys for Bob kept mentioning the phrase "active flight", which seems to be their way of explaining that Spyro will be able to do more than simply glide in this game. This isn't a basic 3D platformer any more, as the purple dragon now has more refined controls and movement mechanics, ways to navigate the wider level and allow players to put their own stamp on how Spyro gets from point A to point B.

To this end, we saw regular gliding but also diving moves to pick up speed and allow Spyro to launch into a faster gliding pattern, all before unleashing a fireball attack to ignite a pile of hay to cause an updraft and launch back into the skybox, flapping his wings along the way to pick up extra height. Again, this feels like a Spyro 2.0 in a way, if we're to look solely at movement mechanics.

4. Is Spyro: A Realm Beyond an open-world?

And building on the latter point, while Toys for Bob refused to confirm whether Spyro: A Realm Beyond is an open-world experience, the trailer certainly did seem to suggest that the more traditional levels are being left behind. Perhaps there will be more complex open-levels instead of a complete open-world, but what we have been shown so far does suggest that Spyro's return won't be as rigid as say, Crash's latest outing in Crash Bandicoot 4: It's About Time, which is coincidentally Toys for Bob's last major title.

5. Tom Kenny returns to voice the purple dragon

Veterans of Spyro will remember that Tom Kenny - likely best known as the voice of SpongeBob SquarePants but with acting credits on so many iconic voice roles - served as the voice of Spyro the Dragon over the original three games from Insomniac in the late 90s and early 2000s. As Spyro is getting a bit of a rebirth in A Realm Beyond, the first new title in the series in about 20 years, it's only fitting that Kenny makes a return too, right? That's precisely what we're getting, as Kenny and Spyro are reuniting, which will no doubt go hand-in-hand with the prior note that this game is "full of legacy".

6. Could this be the final time we see Spyro coming to a wide array of platforms and will this be Toys for Bob's last Spyro/Crash game?

When Toys for Bob split from Activision and went independent it was explained that the developer's next title would be published by Activision, and by extension Xbox Game Studios, all but confirming at the time that either Spyro or Crash would be the focal point. The agreement didn't seem to mention anything beyond that, so once Spyro: A Realm beyond debuts, could this be the last time Toys for Bob delivers a Crash/Spyro game? And since Xbox is seemingly going back to focussing on exclusive games - no doubt similar to PlayStation by keeping single-player titles to itself and letting multiplayer have a broader cross-platform design - will this be the last time we see Spyro or Crash on PlayStation or Nintendo platforms? It's a big question but no doubt one that depends on how successful A Realm Beyond ultimately ends up being both as part of the Xbox ecosystem but also on the other supported rival platforms.

With all of this being the case, all we can do now is wait, as Spyro: A Realm Beyond will be coming to PC, PS5, Xbox Series X/S, and Nintendo Switch 2 sometime in spring 2027, with it featured as part of the Game Pass library too.

Exodus Gameplay Preview: Bringing sci-fi RPGs back to an emotional core

alex@gamereactor.eu (Alex Hopley) — Sat, 06 Jun 2026 23:00:00 +0200

Getting people to care about your world, your characters, the choices that they'll make to affect both, is a tricky business. Only the best can make you pause the game, put your controller down, and clasp your hands to your face as you're forced to make what feels like an impossible choice. Lucky for Exodus, then, that the people working on the game have decades of experience creating similar decisions, in some of the best RPGs we've seen. The ambition with the game is simple, in a way, at least from what we heard in a presentation lead by game director Chris King. It's to take us back to a time where emotional impact was at the core of every part of an RPG. I say simple because it can be summed up in a sentence, but this goal is going to be difficult to pull off, just as it was in the past.

The jury's still out on Exodus achieving its goals, as we won't know that for sure until next year, when the game releases, and we certainly couldn't figure it out from a 20-minute gameplay demo narrated by King. The demo was hands-off, so any thoughts on the feel of the gameplay, or how satisfying it is on the sticks, will have to wait for another day. This was more of a detailed introduction to the game, whereas in the past most of Exodus' teasers have focused solely on the lore of the world we'll inhabit.

As you may know already, in Exodus we play as Jun Aslan, a character that can be male or female depending on your preference. We've barely seen anything of the female Jun in official material, which is interesting to say the least. It's unknown how much you can customise the player character, whether they're like Commander Shepard in that regard or not. As the son/daughter of a famous explorer, Jun has responsibility placed on their shoulders from birth, and that weight grows even heavier when they're tasked with taking a rag-tag team across the galaxy to save their home planet of Lidon from a rot that could consume the technology making the planet inhabitable. Nice, clear stakes, that give us an anchor in the plot, something we can always think back to when making decisions.

Decisions come in all shapes and sizes in Exodus. Largely, they appear to be shaped around this game's version of the Paragon/Renegade or Light Side/Dark Side system. You'll either play as a do-gooder Paladin, or a roguish Immortal. These terms do leave a bit more up for interpretation than the aforementioned systems, and we're hoping that they don't just boil down to good and evil decisions. There are also decisions that'll affect your relationships with your companions, as we saw an approval system pop up in the top left corner of the screen following Jun deciding not to blow a bunch of potentially evil scientists out of an airlock. It's akin to what you see when a character does or does not approve of a choice you make in Baldur's Gate III, for example. Again, very tough to say how intricate these systems are at a glance, but they're there, adding an extra layer of immersion and emotional attachment to the squadmates you'll get to know and possibly romance over the course of the game. It's worth noting now though that you cannot romance the sentient octopus companion Salt. Why even bother?

Just like in Mass Effect, we'll be growing close to our companions no matter whether we get romantically involved with them or not during our runs in Exodus. The companions are varied and it's a unique detail that they're not all available to help you in combat just because they join in with the game's story. Your awakened wolf companion Houston and Matthew McConaughey's character C.C. Orlev, for example, don't look like they'll be dishing out anything but words of wisdom and the occasional upgrade here and there. What I will say about the human companions, at least, is a lot of them walk the line of having that uncanny valley, overly realistic feel you get these days with AAA games that want to make their humans look more human than ever. There's some seriously impressive visuals in Exodus, especially with the modelling. The animations on the mouths for dialogue is very strong, but I worry some of the designs jump towards the uncanny in pursuit of realism.

Gameplay wise, it was a bit difficult to identify the core loop of Exodus. It wasn't made clear during the demo how much time we'd spend aboard our ship, in the hub world of Persepolis (very much the Citadel of this game), and how often we'd be fighting enemies. But, we did get a look at all of those things individually, and combat especially seems a key improvement over past sci-fi RPGs. There's a great and welcome focus on stealth, allowing us to do more than just switch between shotguns, rifles, and pistols as we mow down different aliens. I'm hoping for a full melee build at launch, as Archetype did say there are multitudes of build options via the skill trees. The companions make their presence known in a fight, and we can give them orders to use specific abilities on enemies. That might stun them for a brief period, deal big splash damage, or give some other benefit in combat. It might just be seen as a supporting part of an RPG like this, but Exodus' combat looks fun and flashy enough to keep you interested between the cinematic setpieces.

The maps aren't just made up of corridors leading to different shooting segments, as we can use our special Traveller powers to build bridges and create boxes to climb up, and later in the story we'll upgrade a gauntlet that gives us access to even more traversal options. Hopefully this means not only we'll have plenty of secrets to discover on planets, but that we'll also have a reason to revisit places once we're done with them in the main campaign.

A lot of Exodus looks like an upgraded Mass Effect, with most of its friendly aliens replaced by awakened animals. It made me want to go through the original trilogy again, just watching it, but if there's one thing that really separates it from its inspiration, it is the time dilation mechanic. This isn't a constant, dynamic factor in the gameplay, but at key moments in the story we'll be forced to choose how much time we lose and who we spend it with. As Exodus' version of the far future shows that time works differently in different areas of space, a few hours spent on one planet could mean years or even decades elsewhere. It might disappoint some to hear that Exodus isn't opting for this to be a constant cause of concern, but the choice for time dilation to be centred around a few core moments sounds like it'll be much more impactful when it does appear, and that it can have real consequences for you, your companions, and the world.

The more I see of Exodus, the more excited I am by its lofty ambitions, but I also worry whether it can live up to them. It's not enough for Exodus to just be a return of the Mass Effect-like sci-fi RPG, as we've got other competitors heading into that space now. It's not enough for us to have some decent combat if the story is lacklustre, as Dragon Age: The Veilguard proved. Chris King said that Exodus is the project he's been waiting for more than a decade to make, and it certainly feels like it's got that kind of weight resting on its shoulders. It shouldn't be up to one game to support the future of a genre, but with Exodus it feels like it could very well be the case.

Call of Duty: Modern Warfare 4 Preview: Warzone takes a break in favour of the ambitious DMZ

johan@gamereactor.eu (Johan Mackegård Hansson) — Sat, 06 Jun 2026 17:00:00 +0200

After Infinity Ward wrapped up their extensive presentation on Call of Duty: Modern Warfare 4, specifically focussing on its campaign and multiplayer mode, one final segment awaited us: a new DMZ. "We actually made a proper DMZ this time" were the words that kicked off the demonstration, which, as well as drawing a few laughs from us in the audience, gave me the impression that this is something they've put a lot of resources into creating. The developer leading the presentation was keen to emphasise how they had listened to and taken on board players' feedback regarding the previous DMZ offering, and how they had improved the concept over the four years that have passed since then.

At some point during the campaign in Modern Warfare 4, some sort of nuclear reactor will go off and fill a large area with radioactivity, and it's in those parts that the DMZ then takes place. It's described as a vast sandbox containing everything from AI-controlled enemies whose difficulty increases the longer you remain in the area, to environment-based puzzles, story missions, and shorter raids. The DMZ team has worked closely with their colleagues who designed the game's campaign to weave in as much environment-based storytelling as possible, and the presentation made it clear that there are plenty of small stories about life before and during the disaster embedded in the surroundings for those who keep their eyes open. The map is divided into three distinct landmasses representing North and South Korea, as well as Russia.

In DMZ, we take on the role of a secret CIA agent deployed to secure, retrieve, and destroy dangerous military technology. Essentially, it's an "extraction shooter" which, as usual, places us in a world alongside a host of other players, where it's up to each individual to form alliances or shoot at anything that moves. As we level up, we'll acquire better gear and more skills to tackle greater threats over longer periods. As part of this, we also have the option to customise our operators to better suit our chosen playstyles. Each "loadout" has its own equipment and skill tree, which are then lost when said operator meets their demise. There is, however, a safety net that allows us to spend in-game currency to send in a rescue squad to retrieve your defeated character, with the catch that the more developed your operator was at the time of their death, the more expensive it becomes to revive them. It can therefore be a difficult balancing act to decide whether it's worth spending resources on a rescue operation or whether it's better to save our money and start over from the beginning instead.

There are three different ways to play DMZ. Story missions focus on the overarching narrative, where we select a mission, are matched with a group of other players undertaking the same mission in the same location, which is likely to lead to a whole host of unique events that will probably end in firefights one way or another. The second mode is something they call "Dynamic Operations" and features the same type of matchmaking as in the story missions. We can therefore expect to interact with a host of other players here too. As soon as we start a dynamic operation, we are given a main objective, where this might, for example, involve blowing up a missile or a server room somewhere on the map. What differs from how it worked in the previous version of DMZ is that all the sub-objectives between the start and the final objective are completely randomised, so even though we're moving amongst a lot of other operators, it's not a given that they're at the same stage as us. The third and final mode gives us complete freedom in the open world, allowing us to explore everything at our own pace and tackle exactly what we want, when we want. An exciting detail is that everything in DMZ takes place simultaneously and on the same map. It's therefore possible for us, in "free roam", to seek out and engage with players attempting to undertake story missions or dynamic missions.

The world is dynamic and offers everything from lurking dangers to inclement weather.

The world itself is also said to be a very vibrant and interactive one. At all times, it will be possible to encounter travelling convoys, air traffic, and patrolling enemies of varying difficulty levels, everything from simple cannon fodder soldiers to tougher commanders, combat helicopters, and armoured juggernauts. By defeating enemies, our "star level" will increase and tougher opposition will begin to notice our presence and push back until we flee or meet a violent demise, the only two remaining options for an exit.

As an extra tool for survival, Infinity Ward has introduced a new stealth system designed to help balance the threat level to some extent. For example, we'll be alerted as soon as an enemy is about to spot us, so we can quickly manoeuvre out of the way to avoid detection, while silenced weapons will also help to control the opposition without increasing the star level.

"Are you friendly?" is likely to be a phrase we'll be hearing a lot in the DMZ.

The dynamic weather is also a key part of keeping the DMZ varied and immersive. The world will feel like completely different places depending on whether we're moving through blazing sunlight or rumbling storms, and the climate will also vary over the course of our stay. As part of the world constantly evolving, the weather will also become increasingly harsh the longer we remain in the area, signalling that it's time to leave.

Between missions, we return to our so-called "forward operating base", which acts as a hub world in the DMZ. As our rank increases, we unlock new stations within the base that allow us, amongst other things, to 3D-print equipment, purchase various supplies, and modify weapons. Out in the field, a lot will depend on the type of loot we manage to find, where the aim here is to ensure that everything we bring back to our base is meaningful in some way. On the one hand, it's naturally about picking up classic gear such as larger bags, weapons, and "killstreaks", but it's just as important to secure various types of raw materials that can be put to use in various crafting processes.

Whether we choose to carry out missions or explore in free roam, our paths will cross with those of other players.

As a significant part of the Call of Duty spirit is based on PvP - when players face off against other players - Infinity Ward wanted to include an extra incentive to seek out and defeat other operators in the area. The result is a bounty system whereby players who have sought out and killed enough other players become wanted, with a price on their head. Those who continue their murderous rampage will eventually end up in a Wanted status where other players can pay currency to receive information on their whereabouts. The concept results in two types of PvP players: one who thrives on killing everyone they see, whilst the other focuses on hunting down the killers for the bounty.

Infinity Ward is promising a lot and delivered its presentation with great enthusiasm, which gives me the impression that this is a labour of love for the studio. We can certainly expect more information about the mode in the coming weeks, and we'll have the final answer when Call of Duty: Modern Warfare 4 is released on PC, PS5, Xbox Series X/S, and Switch 2 on October 23.

Crossfire Preview: That's No Moon has ambitious ideas but are they enough?

ben@gamereactor.eu (Ben Lyons) — Sat, 06 Jun 2026 01:00:00 +0200

In an industry of frequent leaks and loose-lips, it's actually rather exciting when a developer is able to make an announcement of their own accord and to surprise the viewer in the process. As someone rather ingrained into all things video games these days, announcements like this are few and far between, but the reveal of developer That's No Moon's debut project did catch me a little off guard.

For those unaware, That's No Moon is a Los Angeles-based studio founded a few years ago by a slate of individuals familiar with the challenges of developing Call of Duty, God of War, and other tentpole AAA franchises. The studio's mission statement was always that it wants to make "a new generation of narrative-driven, genre-defining interactive experiences," and this certainly applies to the game in question, which I've had the luxury of seeing more from via a behind-closed-doors reveal.

Ambitious, exciting, bold, innovative, cinematic, grounded, prestigious, these are all words that were used in the presentation led by That's No Moon's key developers as they were explaining what they wanted to deliver and how they were going about it. But interestingly, the actual name and identity of the game in question wasn't revealed for a considerable portion of the BCD presentation, for a reason I soon understood when the title was shared.

Crossfire. Yep, That's No Moon is working with Smilegate to create a new chapter in the long-running action franchise, and it was only when I heard the name did I realise why the studio was likely a little hesitant to begin the presentation with the name and logo on centre-stage. For all of its range and options, Crossfire has always struggled when compared to the established cinematic military shooter series like Call of Duty and Battlefield, which is why it's a little bold that the imminent game is identifying so boldly with it. It may be a tad prejudicial, but there will be a fair few folk who hear the name Crossfire and hit the metaphorical snooze button, so does That's No Moon have what it takes to make Crossfire a true titanic franchise?

While the amount of gameplay that has been shown so far has been minimal, That's No Moon certainly has a vision worthy of celebrating. This incoming game is a single-player character-driven narrative action experience, where the aim is to deliver an "authored story", have grounded combat with "high lethality" and a "stealth-forward" approach, cinematic moments, flawed but relatable characters, and all without any of the burdens of live-service features or even any form of multiplayer or cooperative systems. This is a true single-player adventure for one person to experience at a time and that's a bold choice these days that I can get behind. Credit to Smilegate for backing That's No Moon on this venture too.

The premise follows a character called Layla Qassem, who is regarded as a gun-for-hire that aims to achieve progress at all costs. Layla finds herself in what seems to be a Middle-Eastern setting and dealing with human threats for a reason I can't quite pinpoint, as That's No Moon was very secretive about Crossfire's plot. What we were told is that Layla will be supported by a character called Delroy Cross, a more reserved individual who fights for institutions and targets stability first and foremost, making for a polarising character archetype to Layla. Needless to say, these two don't get along but they are working together in Crossfire to deal with a problem that includes some kind of sci-fi-like affliction.

As for the gameplay itself, That's No Moon only presented a brief taste of what's in store, mostly showing Layla crawling around rocks in an open area where she has to avoid threats, silently take down enemies, and otherwise survive a dangerous encounter. For the most part, this plays like a more traditional stealth action game, where you can choose how to overcome the task at hand, elegantly weaving around patrolling enemies, quietly eliminating them via takedowns, distracting them with thrown objects, and then should everything fall apart, proceed to use guns and noisy violence to quickly tie things up. Where That's No Moon is looking to shake things up is in its usage of the full capabilities of Unreal Engine 5 and how this can make more complex environments through its Nanites technology, lighting them effectively with Lumen, and also providing new ways for characters to move through this advanced terrain.

A huge emphasis was placed on how real-world environments are hardly ever flat and how rocks jut out in awkward shapes that don't nearly match the box-like aesthetic of cover in video games. That's No Moon's solution is to make environments that are less rigid and predictable, bolstering this with a new movement and cover mechanic designed to reflect the military technique of defilade, where a soldier changes their positioning to reflect the cover at hand. Effectively, taking cover and avoiding line-of-sight is more fluid and authentic, as Layla transitions from prone, to semi-prone, crouching, semi-standing, you get the gist, all as she moves between cover of varying height and shape. In practice it all looks rather elegant and smooth, like a true evolution of the concept, but the big question is whether this one evolution will be enough to make Crossfire stand out as something really, really special.

It may seem a little harsh to reduce it to such a trivial manner, but this is still a Crossfire modern military shooter game, meaning we're treated to lots of brown and rocky environments, all while being tasked with rather familiar stealth-action challenges and moving through zones in a familiar manner to how Lara Croft would approach well-armed enemy threats. I couldn't help but notice how Crossfire felt traditional in some of its overarching ideas but then looks to spice them up with this more innovative flair, a bit like taking Death Stranding's movement suite and terrain design and slapping it in a Metal Gear game. There's an idea here, but will it be enough to make Crossfire feel truly unique in the eyes of consumers?

All this aside, Crossfire looks premium as it comes with true top-of-the-line graphics and visuals. That's No Moon has also clearly spent time working on a fluff-less HUD and UI and it shows, with a clutterless display that lets the action stand out and thrive. All of the promises of "prestige storytelling" and offering a "cinematic tactical action-adventure game", it all seems to be delivering on these points, and hopefully it will succeed in its effort of being a "narrative reimagining" of Crossfire at the same time, a true turning point that can wipe away the stain that was CrossfireX and its equally dismal single-player portion.

So there's a vision in place for this game and the way the developers talk about Crossfire gives you confidence this ultimately can become something special. The main caveat is we simply haven't seen much of the game at all as of yet. We need to see more, we need to learn more about the plot, we need to see if That's No Moon can build on its ambitious ideas and continue to expand them beyond simply interesting features. If it can manage to tick each box, Crossfire will become one to watch for action-adventure fans in the years ahead.

Chronicles: Medieval Gameplay Preview: Another gritty strategy game for the history buff in your life

alex@gamereactor.eu (Alex Hopley) — Sat, 06 Jun 2026 01:00:00 +0200

Europe in the Medieval era. Plague, famine, kings who just love bashing each other's heads in and claiming bits of land for years at a time, only to lose it again and begin the quest to reclaim it all over. The Hundred Years' War was a wild time in history, and in Chronicles: Medieval, we're shot right into the centre of it, being able to take control of one of three key powers as you decide your own course of history.

During a short gameplay presentation we attended ahead of the game's reveal at tonight's Summer Game Fest showcase, we got to see the battle portion of Chronicles: Medieval. A bit like Total War, you'll spend your time in Chronicles: Medieval split between a grand campaign map and the fields you'll soon paint red with the blood of thousands of troops. 2,000 bodies can be on the screen at once in chaotic battles. You'll go into them with a plan, but as you know if you've played a game of this type before, few strategies make it past the first two minutes of a battle without the odd hiccup here and there.

A battle in Chronicles: Medieval starts with the planning phase. You have your units, and have a wealth of options available to you in how you want to position them, what formations they should take, how they should act on the battlefield. The list goes on. Once battle is joined, you can control your forces at the head, playing as the commander of your army, who can't just sit at the back and nod as he sends hundreds of men in to die at his order.

As we were told during the presentation, battles are won and lost entirely on morale. Spirits break before bodies do, and so you'll be called upon to keep your front lines in check. Your presence as the commander of your troops alone is enough sometimes to bolster them, but at others you'll have to get stuck into combat, charging into enemy cavalry and infantry. This is where Chronicles: Medieval lets you get fully stuck into some third-person melee action, letting you use a wide variety of historically accurate weapons and fighting styles. It's all dynamic and based on historical forms of combat, as the team hired a world champion swordsman for the mocap.

Keeping things realistic, though, if you head into combat against a dozen dudes just by your lonesome, you'll probably have a tough time. Even if you're armoured up and are facing some weaker units, getting swarmed never seems to be a smart idea. I like the additional layer of strategy brought about by you not only being in charge of your commander, but your troops' morale, too. It allows for some cinematic swings in a battle, which helps you create your own memorable stories in this sandbox strategy game.

There isn't a direct campaign for you to follow, or from the sounds of it, a story to complete. You have Lars Mikkelsen narrating a good portion of the game, as he does the new trailer gracing us at Summer Games Fest, but as Chronicles: Medieval wants to be a sandbox you decide, it's up to you to make your stories memorable, as it gives you all the tools you need to do just that. As we didn't get any time hands-on with the game, we can't say for certain how impressive it is and how satisfying it is to get stuck into melee, but from the looks of it history buffs and strategy enthusiasts are going to find a nice Mount & Blade-like experience here, where hundreds if not thousands of hours could easily be lost protecting your kingdom in battles and on the campaign map.

In Chronicles: Medieval, you can lead British and French forces, as well as the armies of the Holy Roman Empire. You'll be able to customise your heraldry as you see fit, again within the realms of realism and historical accuracy. There's just a lot of stuff here, as Chronicles Medieval looks to make itself the ultimate strategy battler for fans of this genre. You'll make use of a progression system for your lord, build up the strength of your army, and take part in great battles both on the field and in dynamic sieges. It sounds like a lot, because it is, and developer Raw Power Games isn't shy about how much work it still has left ahead. It not only wants this game to be a kind of all-encompassing grounded medieval power fantasy, but it also wants to make sure as many people can run the game as possible, which is a very nice detail. With the price of PC parts these days, a game aiming to run on a potato is a gesture we're sure won't go amiss with those clinging onto their graphics cards from the days of yore.

Because of how big Raw Power Games wants Chronicles: Medieval to be, not everything it's hyping up will be available in Early Access. Sieges, for example, are a bit further away, as is a co-op campaign. You can play with your friends in Early Access, but that's just for custom battles. It's a solid sign that the developers of Chronicles: Medieval are already acutely aware of what their fanbase wants and when they're going to be able to give it to them. Like all Early Access releases, the sooner that Chronicles: Medieval can deliver its full experience, the better, as this sandbox medieval strategy sounds like it takes the best from pre-established names in the genre and gives us an incredibly detailed, dynamic, and cinematic strategy game that is sure to keep you charging into battle and plotting your enemies' demise for hours on end. Hopefully soon, we'll be able to play the game, so we can say whether the game is as good for fans of this genre as it looks.

Rayman Legends Retold Preview: Bizarre priorities but a charming game

magnus@gamereactor.eu (Magnus Groth-Andersen) — Wed, 03 Jun 2026 00:01:00 +0200

For most people, hearing "Rayman remake" sets off some pretty specific trains of thought. Perhaps Ubisoft will go right back to the beginning and re-establish the franchise's core values? It could even be Rayman 2: The Great Escape, which cemented the character's status as a 3D platformer?

I don't know about you, but my instinct certainly isn't pointing towards a remake of Rayman Legends, a game that's "only" 13 years old, is playable on modern platforms right now, and which, thanks to the UbiArt Framework graphics, looks just as crisp and gorgeous today as it did in 2013. But that's exactly what we're getting...

Meet Rayman Legends Retold, a full-blooded remake of Rayman Legends, arriving at a lower price of €39.99 on October 1 on all major platforms, and with which I recently spent a good three hours playing.

Yes, it's the bizarre context surrounding this project that perhaps does the game a disservice, for it doesn't take a particularly inquisitive or critical mind to ask oneself - and others - the question: "why Legends"? The developers at Ubisoft Montpellier and Ubisoft Milan didn't really manage to answer that, but if you can look past the awkward allocation of limited resources whilst Ubisoft attempts a market strategy U-turn, there is good news here after all.

First and foremost; this is Rayman Legends, and that means it's an endlessly charming, tight, and gorgeous 2D platformer with the option for 4-player local co-op, oozing with creative energy and pure, unadulterated joy of play. All those qualities are still here, and if you're looking for an excuse to revisit an absolute classic, this is exactly what you need.

So what has changed? Well, first and foremost, this game is not developed in UbiArt, but rather in Snowdrop, yes, Massive's graphics engine used for The Division and Star Wars Outlaws. This means that the hand-drawn, distinctive style here is replaced with 3D modelling and a more animated film-like look. Think of Illumination's films, and you're well on your way. It sounds cynical, but fortunately the stylised aesthetic is retained, so the game doesn't lose its spark or its unique character in that sense. In other words, this game is quite beautiful to look at, and that's despite the fact that this 3D treatment via Snowdrop could easily be considered somewhat unnecessary, given that the original version was so beautiful to begin with.

So, credit for the transition to 3D. No doubt about it. The backgrounds in particular have more depth, and it's clear that this allows Ubisoft to flex its graphical muscles a little more. But the visual overhaul also involves what is likely to be, to put it mildly, a controversial redesign of Rayman himself. No, it's not quite as bad as the first version of the film-style Sonic, but Ubisoft has clearly tried to make Rayman "cooler", even though his actual character model is slightly silly to look at. The result is... mixed, and it only gets more bizarre because the game now features full voice acting. So yes, these truly wacky characters now talk to each other, and whilst I don't scoff at the possibility of characters developing or expressing themselves further, it's debatable whether full voice acting is the right "fit" here.

There are new levels, including, among other things, incredibly beautiful and spectacular dragons that carry you from world-to-world, further contributing to the game's versatility in terms of progression, and as I said; the rest of the game feels "tight as a drum". This isn't meant to serve as some sort of excuse for Legends Retold, but let's just say that this game is still... well, itself, and that means it feels absolutely brilliant to play right through to the end.

That's why I enjoyed my time with Rayman Legends Retold, even though I'm not entirely convinced that all of this is strictly necessary. The 3D conversion is quite beautiful; everything ran smoothly and responsively, and has retained its colours, creativity, and spectacular pace. Rayman's new design, and his voice, will probably divide fans but I'll be playing this with my partner in October all the same.

Star Fox Nintendo Switch 2 Preview: 4 things I'm loving and 2 I'm not sure about

david@gamereactor.eu (David Caballero) — Tue, 02 Jun 2026 15:00:00 +0200

Announced to relative surprise not even a month ago, as its existence had leaked before, but nonetheless unveiled without notice and with a shocking graphical style, the new Star Fox for Nintendo Switch 2 will release on June 25.

Before that, as there seems to be some confusion regarding what this is, mostly among those unfamiliar with Nintendo's 3D space shooting arcade, I was able to spend more than one hour with what seemed like a pretty final build, trying out both what I knew and loved (yes, I spent many weekends of my adolescence chasing medals on the Nintendo 64, and then some more in 2011 on the 3DS), but also what is completely new to this version.

Because, yes, this is a remake. A full remake, if you will, of the 1997 classic. The third, the fourth of the same game, you might be wondering? Well, I do get the question, and the memes, as the N64 title already reinterpreted and modernised the SNES original, and it's clear that the most recent entry, Wii U's flawed Zero, also built on the same foundations. But to be absolutely honest, the Switch 2 game is what I would call a total remake, the first one actually, with a complete graphical overhaul, control enhancements, and then a bunch of interesting additions, with the 3DS title acting as just a remaster.

With that out of the way, there are several things here that made me do a barrel roll in joy, while a couple of others didn't land so well so far. Let's rock and roll!

1. I dig the realistic furs and I'm no furry

I think it's bold, and kind of pays homage to the SNES cover's puppets. It also differentiates this game from every other entry in the series and from the recent The Super Mario Galaxy Movie. Yes, Fox there is more expressive and fun, but after an hour with these redesigned buddies, it goes with the serious but catchphrase-filled script and what they wanted to convey with the low-poly models back in the day. We're saving the galaxy, but in a badass style. They look better in their cockpits than "in person" during cutscenes given their obvious quadrupedal struggles, but the realistic furry design works well with the Lylat Wars style.

And this also aligns with my second point...

2. It's pretty, but is it pretty smooth flying?

The furry realistic look also goes better with the more realistic environments. Nintendo clearly waited until this moment to fully remake this and other titles (Ocarina of Time, you go next) so that the leap was much more obvious. After three generations of more discreet hardware updates, the time is now to show off some graphical flair.

Most of the time I played on Corneria, Meteo, and Sector Y, it truly looked like the graphics we fantasised about three decades ago. Geometry, reflections, textures, lighting, effects... It's a dream come true for veteran fans, with touches that landed especially well, like entering Corneria City, almost night-dark due to war and smoke, or shooting the trees and seeing fire break out.

However, snowy Fichina didn't impress me that much, and during Battle Mode (both All-range Mode) I got the feeling that the game struggled a bit. It'll be interesting to see if it keeps solid 60 fps in the final build, because the smoother framerate already makes for a more fluid, vertiginous experience.

I unwillingly skipped a few cutscenes because I was keeping the charged laser (by holding the A button at all times) - old habits die hard!

3. Co-op and plenty of controls, is it a trap?

I spent most of my playtime mistakenly throwing smart bombs as if they were infinite due to the tweaked default control scheme. It adopts the more natural Zelda: Breath of the Wild or Donkey Kong Bananza approach, where X is "up" or "advance", and B is "down" or "backwards", meaning boost and brake respectively. This is okay, understandable, and actually customisable, but it takes a while if you come from the classic mapping and makes homing bombs all the more complicated (because Y is quite unreachable when you're holding A, isn't it?). Besides, Somersault and U-turn now have easy up & down shortcuts on the D-Pad instead of the analogue combinations of yesteryear.

That being said, the real game changer is Mouse Mode. I was only allowed to play it in cooperative play, with another player piloting the Arwing and me taking aim. Co-op was more interesting than I had anticipated, as it felt very Star Wars, with one player controlling the ship and the other the "turret", constant comms needed, like accomplishing what was attempted on the Wii U.

And while I'm looking forward to doing both things on my own, it was enough to see how easy it becomes to take down many more enemies. One welcome new feature is the stats screen post-mission, showing time, enemies taken down, damage, shots etc. My/our accuracy increased from 17% to 28% when we switched from regular stick cursor to mouse controls, and the tangible difference is even higher.

This will impact both competitive multiplayer and hi-score chasing single player, which takes me to...

Landmaster and Blue Marine. Rumour has it that Slippy Toad built the Blue Marine by sticking parts together with chewing gum...

4. The big question: Medals and challenges

Medals are back, and the same tricks you used to make more enemies appear in the past remain intact here. However, the new aiming method makes things much easier, so my 212 hits in Corneria won't be such a demanding feat any more. Less so if you tackle levels cooperatively with another pro player, right?

Both medals and new challenges are shown once a planet has been completed, so we'll have to check how they've handled this crucial aspect now that there are different control types and player combinations. In my opinion, traditional medals should remain there for the same scores, while added challenges and rewards for either mouse or co-op should be clearly differentiated. The additional objectives and stats are more than welcome anyway for a more complete arcade experience.

To understand accuracy rate, imagine you're firing around all the time, not just when you're aiming.

5. I admit I'm surprised with the revamped Battle Mode, but will it last?

This, I wasn't expecting to impress me. Whenever we exhausted GoldenEye and Mario Kart, I spent many hours with three classmates dogfighting on a 14-inch CRTV split in four at 15 fps in Star Fox 64's bare-bones multiplayer, but I didn't picture myself coming back online 30 years later, no matter the modern graphics, netcode, and full screen.

However, I honestly enjoyed what they're trying here, with modifiers, power-ups, and modern squad vs. squad objectives. In my multiplayer time I was Wolf O'Donnell from the Star Wolf team, and as Andross' enemy is my enemy, I satisfyingly took down cocky little freaks such as Fox McCloud and Slippy Toad while capturing the zone. I dropped proximity mines, launched homing rockets, beamed a special laser, or stayed safe with an added shield, and this could get competitive shortly after release.

The problem? Only three maps: Corneria (Bay), Fichina, Sector Y. I fully expect Nintendo to release and market more if it gathers interest, but for now it weirdly remains a promise rather than a Day-1 selling point.

6. The Andross is in the details

One general feeling I got that doesn't belong to any specific aspect is the attention to detail and how this will feed both the fan service and interest among newcomers. The choir-infused orchestrated soundtrack making one of Kondo's best move you again. The silly, yet greatly implemented avatar camera feature I can already see in future multiplayer games. The subtle HD Rumble 2 honouring the very first good vibrations in gaming for many. The added lore with the expanded intermission and in-mission cutscenes and the revised script.

This aims directly at the hearts of those of us who played Star Fox in the 90s, but can become the entry point for new generations, all while keeping the soul and personality of the original, without needing to look at the movie. I'll check on my doubts and if all systems go in the complete game, I may very well play this again and again.

As well as medals, by completing or accomplishing missions you'll be able to unlock new challenges, holoviewer data, avatar customisation options and items for your pilot card.

Call of Duty: Modern Warfare 4 Preview: Infinity Ward sets the bar high even if the formula is familiar

johan@gamereactor.eu (Johan Mackegård Hansson) — Thu, 28 May 2026 17:00:00 +0200

It's morning in Los Angeles and I've just finished an American hotel breakfast which, for the first time in my 31 years, included fried potatoes with various vegetables. "It's never too late to try something new" became my motto for the day. Shortly afterwards, it was time to set off. I, and around 30 other members of the games press, had been instructed to gather in the hotel lobby at 10:30 AM, wearing the green wristband confirming our participation. The bus then set off for Infinity Ward's headquarters for a demonstration of what the next big Call of Duty project had to offer.

The presentation began by setting out one of Infinity Ward's visions for Call of Duty: namely, the "ripped from the headlines" concept, which, in short, means that the ambition is for their games to feel as though they could have been taken straight from the front pages. Not necessarily the actual headlines, as Infinity Ward's titles naturally depict fictional conflicts, but the feeling should still be there. The characters portrayed should feel grounded and not like pure superheroes, and in short, it's raw and gritty warfare that's in store.

Just as many had speculated beforehand, it's the conflict between North and South Korea that serves as the setting for Call of Duty: Modern Warfare 4. According to the developers, there are many reasons for this, but it can be summed up simply by the Korean wave of popular culture that has taken the world by storm in recent years (need we say more than K-pop and Squid Game?). The conflict itself is also unique in that the two neighbouring countries have countless weapons pointed at each other at any given moment, yet this does not significantly affect the mindset of the inhabitants. The developers at Infinity Ward felt that this is a prime example of "ripped from the headlines", exploring what happens when things suddenly kick off and war breaks out.

Since the mid-2000s, Call of Duty has also focused on various types of special forces, whilst Modern Warfare 4 has chosen, at least in part, to portray such a conflict from the perspective of conscripted youths and foot soldiers who suddenly have to deal with an attack from the neighbouring country to the north. The narrative that follows depicts their struggle for survival, but we can also expect some shifts in perspective as certain parts of the game take place behind enemy lines in North Korea. Of course, it wouldn't be a Modern Warfare game without including the now legendary moustachioed marauder Captain Price in the line-up, but due to events in previous instalments, this time we are presented with a darker version of the war hero. We meet a lonely and hunted captain as he embarks on a mission of revenge that sets in motion the series of events around which the story revolves. We'll find out how it all fits together in due course, but we can expect an adventure that takes us on a journey across the globe, with Mumbai, New York, Paris, and Russia among the locations where we can expect to do battle.

Once the campaign had been covered, it was time to talk about multiplayer, which is still the cornerstone of the Call of Duty franchise. This time, Infinity Ward has set out with the ambition of making the gaming experience smoother and more immersive than before. As an example of the latter, they've taken a leaf out of the film industry's book in their efforts to let the player interact more with the environment, including by making objects react more when hit by gunfire. Pots shatter, fire hydrants spray water, and items fly off the shelves, which are cool elements, by all means, but despite the developers' enthusiasm, I couldn't help but wonder just how revolutionary this really is? Granted, it may not have featured in Call of Duty before, but it's certainly far from the first time a game has offered this sort of effect.

Something else Infinity Ward has put a lot of effort into this time is ensuring that your character's movements feel as accessible and immersive as possible. During the presentation, it was clear that the guiding principle is that, as a player, you should feel like an elite soldier as you move through the world. To achieve this, they have delved deep into all the character model's micro-animations and transitions that are constantly happening, to find new ways to make the player feel more agile.

Examples of systems that have been reworked include the cover system, which in Modern Warfare 4 allows for greater player control and now enables players to peek around corners whilst hanging from walls. The character's movements have also become more graceful, allowing for more active player inputs, and a new manoeuvre has also been introduced where the character slides forward on their back and ends up in a prone position.

The feel of the weapons, which is also a central part of Call of Duty, has also been reworked to enhance the players' immersion. Infinity Ward has, among other things, worked on the depth of field to make weapons look less compressed, and introduced something called "Enhanced FOV" to increase the character's field-of-view. The muzzle flash from the weapon, which previously could obscure an opponent, has also been adjusted to improve visibility even during intense firefights. Overall, they have also reviewed how the character holds and handles their weapon for a more realistic feel. The big news is that hip-firing now shoots exactly in the direction the barrel is pointing, rather than the randomly scattered spray of gunpowder that has previously been standard in the genre.

But while that sounds good, what's actually new in terms of gameplay, you might be wondering? Well, I'll tell you. The developers at Infinity Ward, for example, were very proud to present the so-called "Apex attachments", which are available on all weapons in the game and are the last thing you unlock for each weapon. As the name suggests, Apex attachments aren't your usual upgrades, as they take things a step further and, in some cases, become a bit comically over-the-top, with, for instance, a shotgun built into a small pistol, throwable knives attached to the side of a rifle, or weapon with built-in strobe lights that blind opponents, and then there are also a variety of explosive solutions. Personally, I have to say that these sound like fun additions that make you always look forward to that final reward for your favourite weapon, but at the same time I wonder how keen you'll actually be to use your Apex attachments once there's nothing left to unlock. Time will tell, but the decision to place them all at the end of each list of upgrades feels a bit odd from the outset.

On the loadout front, Infinity Ward has also built on its system and now lets us link specific operators and killstreak rewards to our saved loadouts, which feels like an obvious next step. Another new addition to Modern Warfare 4 is the AI-based loadout assistant Gunny, who is available to select equipment for players who don't feel inspired or knowledgeable enough to do it themselves. Perks are also included, and this time we're going back to basics where you choose three and throw yourself into battle.

The Prestige system has also been revamped and is available this time in two separate versions for you to choose from. The classic Prestige mode resets all your progress as usual but lets you continue fighting with a 20% XP boost, with a few extra rewards along the way. If you're not keen on getting rid of everything you own and starting from scratch, there's a gentler option that lets you keep almost all your gear along with a small XP boost.

As well as many classic multiplayer modes such as Deathmatch and Search and Destroy, Modern Warfare 4 delivers a couple of new features. One example of these is a deathmatch-style mode called Inflation, where players lose "bounties" when they die and the team that has collected the most money when time runs out is declared the winner. Gunfight is a mode where two teams of ten players battle it out on a map that changes as the match progresses, and there will also be at least two major game modes, Combat Outpost and Frontal Assault, where vehicles and infantry play a key role.

Speaking of maps, we also got a first look at the Westbridge Training Facility, or Code Name Killblock as it's also known, which is Infinity Ward's new dynamic map that changes during the course of the battle so that no two matches are ever exactly the same. The basic idea is that the level is divided into different components, some of which consist of familiar landmarks from the Modern Warfare series that are in constant rotation; at launch, the plan is to have around 500 different combinations available.

Then the presentation was over and we were ushered into a large hall equipped with a countless number of gaming stations. So it was time to go to war alongside my fellow journalists. What followed was just over an hour of gameplay in various multiplayer modes, and whilst I must admit I'm a novice when it comes to Call of Duty, I can still say with certainty that... Well, it feels like CoD. Weapons were being fired from all directions and I was shot in the back more times than should be allowed, but I had a great time. With the presentation fresh in my mind, I could also confirm that what was said about the character's agility and weapon handling seems to hold true. Call of Duty is back, and with Modern Warfare 4, it's at least my view that Infinity Ward has set the bar high.

Warhammer Survivors Preview: A frantic, stylistic time sink

alex@gamereactor.eu (Alex Hopley) — Mon, 25 May 2026 13:00:00 +0200

Warhammer Survivors isn't shy about the game it's emulating. If, like me, you've not played Vampire Survivors, and want to know what you're getting in for with this new bullet heaven release from Auroch Digital, it's a rather simple premise. You take on hordes of foes in one of two Warhammer universes, gaining abilities and power-ups until you're eventually overrun.

The game lets you play either in the Warhammer 40,000 or Age of Sigmar universes, giving you different heroes, enemies, items, and more dependent on which one you've gone for. We've tried both, and if you're completely new, it's hard not to recommend going with Warhammer 40,000 to start with. Not only is it the more recognisable setting, but the mechanics of the first hero Malum Caedo (also featured in Warhammer 40,000: Boltgun) feel much more beginner-friendly. His basic chainsword attack covers your rear and enemies in front of you, whereas Naeve Blacktalon's axe attacks only deal with the enemies she's facing. Granted, they do give them a bit of pushback, but I was swarmed easily on my first go with Naeve, but managed to survive a bit longer as Malum.

Again, I've not played anything of Vampire Survivors, or any of the other games since. I'm aware of what the general gist is, though, and again Warhammer Survivors has nothing to hide about how it works. You kill enemies, pick up gems from their corpses, and use them as XP to give your character new abilities or power up the ones they've already got. You'll need more gems to level up the stronger you get, and more hordes will head your way until you're surrounded, caught up in a maelstrom of chaotic action as you're not sure which explosions are caused by you and which ones are sent by a Skaven trying to catch you off-guard. Chaos is where Vampire Survivors flourishes, and the same is true of Warhammer Survivors, as well. That first bit of slowly walking around in a run is quite by-the-numbers, but as you progress and start making yourself more of a one-man or one-woman army, you'll quickly see where the game's bread and butter lies.

There's not much depth to the gameplay, as it is just clicking where you want to go, or moving around with WASD, and letting the auto-firing weapons deal with the enemies in front of you. It might not spark the interest of someone wanting a massively hands-on experience, but the action remains fast-paced and engaging, even if you're more of an observer at times than an active participant in all the Xenos killing. That is the charm of bullet heaven or Vampire Survivors-like games to those who play them, though. They're not necessarily looking to have to parry every incoming Tyranid blow, and instead just want to make more tactical choices about their build and movement. By eliminating certain gameplay choices you might have expected from a game like this, Auroch is allowed to focus on making what you can control matter more.

Warhammer Survivors is an incredibly stylistic game. It's easy to say it's just Vampire Survivors with a Warhammer skin, and that is true, but fans of Games Workshop's IP will be pleased to see the level of detail put into the sprites for the enemies and heroes, the weapon designs, their functions, and the abilities you get. It's difficult without having played Vampire Survivors to really say what else stands apart, but if you have been hankering for a game that delivers a similar sort of experience, and you are a Warhammer fan, you've got the best of both worlds here.

As we can't go too deep in the demo, the first impression for Warhammer Survivors should be strong, addicting. It should make you worried about all the hours you'll spend playing this game, convincing yourself you'll only do one more run until the sun is coming up on another needlessly hot summer's day. Warhammer Survivors succeeds in creating that concern of "wasted" hours, but are they really wasted if you're having a blast playing the game. It's a time-sink, letting you throw yourself again and again against endless hordes of opponents. You can get permanent character upgrades, but really the main fun is in giving into the randomness of each run. You might day quickly. You probably will, but you'll have fun wandering around a desolate world or through the site of an evil ritual, scattering enemies to the wind. That immediate hook is something Warhammer Survivors achieves in its demo, and I hope that hook is strong enough to hold you for hours on end, even at the sacrifice of my schedule.

Warhammer 40,000: Boltgun II Gameplay Preview: Bloodier, bolder, better Boltgun

alex@gamereactor.eu (Alex Hopley) — Thu, 21 May 2026 19:00:00 +0200

I wrote in my review of the initial Warhammer 40,000: Boltgun that the concept of Doom with a Warhammer 40,000 skin was a dream for fans of the grimdark far future. For that heart-pounding boomer shooter hit to get a sequel shows Warhammer fans are continuing to live the dream as of late, but to create a successful sequel, we can't just have the same experience as before with a bit of a glow up. Aurochs Digital is more than aware of this, and has made it clear even in a short demo experience this isn't just Boltgun 1.5, but is a game that has fought for its spot as a sequel that dares to be different and better on the skulls of a thousand dead daemons.

Warhammer 40,000: Boltgun II immediately feels like the older, cooler brother of its predecessor. It's got a new playable protagonist in Sister of Battle Nyra, a slick and fresh UI, more enemy variety and my personal favourite improvement: much better level design. If there was anything that struck me as a proper misstep with the first game, it was the amount of times we were dashing from corridor to corridor of a gilded, gothic cathedral, never knowing if we'd explored somewhere before or not. It could be mind-boggling at times, but from the two levels we've played as part of the Warhammer 40,000: Boltgun II demo, it's clear Aurochs has heard and understood these criticisms.

The first level brings you to a sticky, swampy jungle, infested with Nurgle's rot. The second takes place on an abandoned icy research facility, where Khorne's bloodthirsty daemons wait around every corner to ambush you with swords and fangs. Both levels felt unique, with plenty of action interspersed with some fun traversal, secrets to find, and very light puzzle solving. What was particularly impressive was how both levels adapted to the identity not only of their environments, but the enemies that were present as well. The structure in the first level focused on Nurgle's servants being slower, shambling, zombie-like enemies mixed with tanky Chaos Space Marines that would try and spew bile all over you. The ice planet was filled with berserk cultists and servants of Khorne that just want to kill you as quickly as possible. It shows Aurochs isn't just reskinning the enemies of the first game to add multiple new factions, but has thought about how each servant of the four Chaos gods in the lore will act. Also, I never once got lost during my run through the demo of Warhammer 40,000: Boltgun II, as even without direct signposting, the design was clear enough to keep me going in the direction I needed to head. It might sound daft to raise that if you've not played the first game, but if you have you know how much of a boon this is.

Considering the levels in the demo were quite short, running at about fifteen minutes each, I decided to play as both the old protagonist from Boltgun Malum Caedo and the new hero Nyra for each mission. It was fun to stomp around as Malum again, and once more Aurochs has managed to make him feel like a walking tank without having him be slow or lumbering in his movements. However, if you thought Malum was quick in the first Boltgun game, Nyra's speed surpasses it and then some in the second. She has to be different, and exciting enough to play that you'll consider stepping away from the one-man army you grew to love in the first game. Just like Dishonored 2 had me let Corvo turn to stone so I could see what playing Emily was like, Boltgun II shows Nyra has a much more different playstyle to Malum, but one that is incredibly fun.

Where Malum stomps, acting as perhaps a more new-player friendly protagonist with his tougher frame and more classic weapon loadout, Nyra can hop, skip, and jump around a shooting gallery like a CS:GO surfing pro. Her slide lets you get in and out of crowds of enemies quick as a flash, and her melta bomb seems just like a more powerful version of Malum's frag grenade. Her weapons are fun and unique, with her getting a sci-fi crossbow that might be one of the coolest weapons I've seen in an FPS, as well as a flamer that shows us how graphics can improve on a game like Boltgun II, with enemies bursting into brilliant fiery sprites. I hesitate to say Nyra is the "better" protagonist, as recency bias could just be hitting me and I've also yet to play the full game, but Aurochs has done a phenomenal job making her feel different from Malum, and worth a playthrough even if you don't pick her for your first run. It's worth noting you're pretty much expected to beat the campaign with one character before going in and doing it again with the other.

The level design, new enemies, and new protagonist are of course going to be taking up much of the headlines around the first gameplay impressions from Warhammer 40,000: Boltgun II, but there are other elements worth highlighting, too. The shooting is as good as it ever was, and the excellence of the sound design from the first game doesn't feel tarnished in the slightest. When we look at direct improvements, there's a better UI design, sharper visuals, and enemies that are tough not just because of their large health pools. All in all, Warhammer 40,000: Boltgun II feels like it's doing exactly what you want a sequel to do. Tweak what didn't work in the first game, and just give you more of what did. If the rest of the game keeps up the momentum from this short taster, I could see Boltgun II reaching the boomer shooter hall of fame.

Assassin's Creed: Black Flag Resynced Preview: A remake in the truest sense of the word

martin@gamereactor.eu (Martin Carlsson) — Thu, 21 May 2026 18:00:00 +0200

I had never set foot in Charles de Gaulle airport before, nor had I ever seen Paris with my own eyes. But that was all about to change when I was entrusted with the task of travelling under the Gamereactor banner, with the aim of setting sail on The Jackdaw. The old frigate that served as the focal point of Assassin's Creed: Black Flag, a 13-year-old crowd-pleaser that has been given a new lease of life in an upcoming remake built using Ubisoft's latest version of the Anvil Engine, which powered last year's Assassin's Creed Shadows. Assassin's Creed: Black Flag Resynced, featuring pirate captain Edward Kenway as the protagonist, returns in a few months and has never been more versatile, high-resolution or agile - based on my more or less reliable judgement, and the work that has actually gone into this is very impressive.

Edward Kenway (Matt Ryan) makes a triumphant return at the helm.

The first day was all about settling in and finding my way around the airport and train routes. I found my hotel just outside the Gare du Nord hub, where I was to spend the next three days; it included a minibar and sparkling wine was part of the breakfast buffet. France, as I said... I do have some insight into balcony culture and, to be honest, I don't understand French balconies - I don't smoke. However, I do use snus, and here I chose to bring the right tin that won't land me in prison. The evening was rounded off with a lovely three-course dinner at an Italian restaurant together with the Danish coordinator in the hotel lobby.

A lovely building, opposite the hotel.

The representative from Ubisoft was a really nice chap (the same can be said of the rest of the group), but strangely enough, I still didn't find out anything about the future of Splinter Cell, nor was I given a release date for Beyond Good & Evil 2. We were, however, collectively saddened by the fact that the Prince of Persia: The Sands of Time remake had been scrapped. Rayman's future? I dare not promise anything, but there are signs of hope...

I was called brutal around the table for my questions, but there was also a twinkle in the eye and understanding, accompanied by laughter. The fact that the Ubisoft representative is also a big fan of Returnal? That certainly didn't make things any worse, but perhaps this was because a six-foot-tall Finnish games journalist was sitting next to him with a healthy appetite - who knows.

The four of us who travelled to Paris to play: Illari Hauhia, Martin Carlsson, Jonas Damholt and Dev Karnal Fridén... Why has the rum gone?

We stumbled home through the streets of Paris and then recharged our batteries for the day ahead. A day that would be spent on a roughly four-hour preview of {Assassin's Creed: Black Flag Resynced}. And I'll be honest here, I can barely remember the original game. I played it briefly half a lifetime ago, but what I got to experience that day? It was actually really entertaining, and not least technically advanced, with a colour palette that brought the Caribbean islands to life according to 2026 graphics standards. Ubisoft Singapore has crafted something here that is well worth keeping an eye on. It draws inspiration and ideas from every title in the series and distils what the player wants. The combat is more acrobatic than ever, and you alternate between stealth and parkour, with virtually every surface possible to scale and climb. And diving beneath the surface? This is going to be a treat on an OLED screen if colour, contrast and high-resolution graphics are something you appreciate.

Paul Fu, Creative Director and one of the day's presenters.

Paul Fu (Creative Director) gave a presentation on the project, before we were able to sit down and play the version that was still in development. We plunged straight into the start of the game with a Jack Sparrow-esque Edward Kenway (voiced once again by Matt Ryan), whose well-oiled one-liners had me chuckling. A chase through the jungle began, where the controls were established through jumping, leaping and swinging on vines, before leading into a free-roam section of Havana - the game's only major central city centre. We weren't allowed to record or photograph this footage as it was still in development, but I had a blast on those streets. I crept around and assassinated everything in my power. I climbed to the highest peak in the city - gazed out over the Caribbean and spotted valuable targets on the horizon, and chased pigeons that acted as collectibles. And believe me, at the top of the city? It was a view that was well worth the effort. I started a full-blown riot in the streets to evaluate the combat system, which is said to draw influences from across the entire game series, and well... what can I say, I've never done ballet, but I definitely like the animation work in the combat and the classic one-on-one setup presented here; where you parry, roll away along the terrain or over the opponent's shoulder, and then send a hidden blade through the heart of whoever feels called to a duel. The combat feels alive in a way that few games do today; it's dynamic and feels like the best in the series when it comes to Assassin's Creed and its overall gameplay.

The game's parkour doesn't disappoint, and Lucy isn't just a pretty face - she also makes life easier when you crash into pirate ships, as well as contributing to the story.

As you'd expect in a full-blown remake, we've got other new mechanics here, too. We can recruit brand-new characters who act as "perks" ahead of the many naval battles taking place on the open sea. The characters introduced here add a fresh twist to the story with new missions - but also to the ship, with new gameplay elements that require both cunning, timing and a sharp tongue. Ubisoft Singapore has added over six hours of new content here. Lucy was a woman I had to rescue after infiltrating a ship adrift at sea; with clear stealth elements, I threw myself into the sea, swam and climbed up the railing. I sneaked below deck whilst delivering finishing blows to unsuspecting Spaniards and rescued a woman who added new elements to the ship Jackdaw - which, at sea, is something of a main character in its own right. And yes - you can bring pets on board and sing new sea shanties as you set a bearing for the destination you're going to discover or bomb the hell out of, by the book.

It is absolutely stunning and a remake in the truest sense of the word.

On a later mission, I had to get hold of a diving bell - a model resembling a 2-tonne church bell that is lowered beneath the surface of the sea to navigate the game's coral reefs and sneak through the underwater vegetation. The bull sharks were circling, oxygen was in short supply, and here I had to sneak my way towards chests and hidden secrets on the seabed, which looked like something straight out of Avatar in terms of contrast and vibrancy. Back on deck, I set off in pursuit of those sharks that had been chasing me, for now they were to be harpooned according to old custom. The bull shark didn't stand a chance, whereupon I winched the predator up and enjoyed its resources, which I spent on decorating the ship.

Diving beneath the surface in search of treasure has never been more colourful or perilous.

Assassin's Creed: Black Flag Resynced is a game to look out for, whether you played the original or want to give this relatively standalone instalment a go when it launches in just under two months. It flirts with the past, adds new elements and is packaged in a style that has been almost synonymous with Capcom in recent years when it comes to lavish remakes. Taking note of this and putting pirate captain Edward Kenway in the spotlight - that was no bad idea, in my humble opinion. I also interviewed the game's director, Richard Knight, whilst I was there, which you can read here.

Assassin's Creed: Black Flag Resynced launches on 9 July for Xbox Series S|X, PlayStation 5 and PC.

Clockfall Preview: Time is not on your side in this roguelite dungeon-crawler

ben@gamereactor.eu (Ben Lyons) — Tue, 12 May 2026 19:00:00 +0200

Ever since Hades debuted several years ago, we've seen the dungeon-crawling action roguelike category boom and lead to several amazing alternatives. While each of these games are entertaining in their own right, aside from the core gameplay structure, they do each tend to play with another key idea: time. As the idea is to 'live, die, repeat', as Edge of Tomorrow so eloquently put it, these games are often anchored by a story where the protagonist is trapped in a sort of time loop or utilising non-linear time flows to their advantage. We saw it recently again with The Rogue Prince of Persia and even the Hades sequel plays with time, although in a slightly different manner...

The folks over at Rever Games are looking to claim their slice of the pie by soon delivering Clockfall. This is an action dungeon-crawling roguelite, where the aim is to head out on a mission where you are literally against the clock and given a fraction of the time to amass power and upgrades before being thrust into a 'boss' encounter. Should you fail, and you eventually will by design, you will be sent back to the hub area to start a new run from scratch albeit with some minor improvements to put to good use.

Clockfall isn't looking to rewrite the formula so many fans have come to adore from these kinds of games but it does have a plethora of interesting ideas not found elsewhere. For one, the time mechanism puts a strain on the player that otherwise doesn't exist elsewhere as chances are you will not 'die' during a run through the respective dungeons but will instead run out of available time to explore the wider domain. Essentially, a powerful clock allocates a fraction of time for you to explore and grow stronger, all before you are required to defend your home village for as long as you possibly can in the aforementioned 'boss' event. It's a Sisyphean task, one you are actively expected to lose, ultimately seeing your village burnt to cinders once more despite protecting it for a few seconds longer after each and every run. It's a rather interesting design choice because there is noticeable repetition but you can also see improvements in a physical form in regards to how much longer you can impede destiny each time.

As you defend your village for an extended period of time, you notch up Anomalies of Time, which are essentially permanent resources you can spend at the hub village beyond the grasp of destiny, and this could be acquiring new weapons or spells to use in battle, improving your core attributes so your base damage or health is higher, or even adding a minute to the game clock for each run. It's with this in mind that you start to see the loop taking shape, as you begin, explore, gather items, run out of time, defend your base, lose, spend your resources, and then restart the cycle from scratch again with an extra minute to play with. This should mean you can travel further and all being well discover the 'secrets' of each location, including finding key parts to the clock at the centre of your village, which when repaired may allow you to subvert destiny altogether.

But Rever Games also adds in a few additional creative flairs to define how you go about playing Clockfall. A key element is that the doors connecting each dungeon of a run only open at a cost - this being time. The start of the dungeon might knock five seconds off your total timer whereas later doors could hack away 40 or more seconds, meaning you cannot progress without enough time in the bank and might quickly run out of steam if you haven't explored quickly. You might think the trick is to zoom through rooms, moving door-to-door at a break-neck pace, but you also need to gather gold from defeated enemies to spend on vital charges to defend your base, all while finding and opening chests to find temporary attribute enhancements, locating tools to aid in village protection (like an automated Ballista), and praying at shrines for versatile enhancements. There are a huge amount of things to take into account and you have to be decisive and smart about how you go about your tasks if you have any intention of making meaningful overall progress.

The demo version I had the opportunity to test only featured one biome, but there are several and Rever Games promises tens and tens of total rooms to explore across the core biomes too. Essentially, there are a lot of secrets to discover and opportunities to take advantage of, all while completing the core tasks of finding the clock's parts and saving your village from a grisly fate. This core design philosophy also seems to work rather well and serves as a strong foundation to build upon, with tight and fulfilling gameplay bolstering the decisive dungeon crawling format. Sure, it's early and a little rough around the edges in places, but the bones are strong and the idea is entertaining enough to warrant becoming excited for what Rever is cooking with Clockfall.

So I'll stay optimistic and excited about what's on the horizon. Again, this isn't a completely revamped take on the dungeon-crawling roguelike formula, it's just a unique version of the tried and tested system that many adore. It fundamentally works, is fluid and snappy enough to keep you engaged, and has a loop where rewards and improvements are served up at a good rate. It is, simply put, a fun game.

The Sinking City 2 Preview: Frogwares puts a survival horror spin on its eldritch setup

ben@gamereactor.eu (Ben Lyons) — Tue, 12 May 2026 16:00:00 +0200

When developer Frogwares announced they would be taking a slightly different approach to the production of The Sinking City's follow-up, I immediately became very intrigued as to how this would ultimately look. The original game is an admirable project in many ways but it's also a detective puzzle-like experience for the most part, a game where you explore an unsettling world and uncover clues in the hunt for an answer to the overarching mystery. It worked on these premises but for The Sinking City 2, a new direction is being taken, which is for me, a little more compelling.

Frogwares is moving away from the adventure puzzle angle to instead serve up a more authentic survival horror experience. It's still The Sinking City, so there are design elements and flair that pay homage to the original's design, but at the same time, this follow-up is made to be more frightening and uses design philosophy that any Resident Evil or Silent Hill fan will be familiar with.

I'm saying this as someone who has had the opportunity to play a couple of hours of The Sinking City 2, in a preview build that offered unique gameplay in two separate parts of the wider game. There was a section that tied together a library, the wider open flooded city, and a freaky church, and then an additional section that followed based in a dilapidated and creepy hospital. Before even getting into the gameplay and impressions, you can probably feel where things are going in this game.

Within five minutes of beginning this preview build, two things stood out to me. For one, there was the far more unsettling horror nature of the gameplay, with The Sinking City 2 feeling darker and more claustrophobic than its predecessor. Lights flicker, creatures clamber around outside of your peripheral vision, creaks and groans make the entire world seem hostile - it's all very traditional survival horror in that sense. Similarly, a quick glimpse at the menus, inventory, the camera perspective, how protagonist Calvin Rafferty interacts with the environment, it all feels familiar of survival horror, with Resident Evil and Silent Hill fans being able to hop into this without missing a beat.

You wander around a cramped and tight building where you interact with drawers and chests to snag any materials or bullets found within, all before attempting to open a door and discovering it requires a certain kind of key to unlock. You fight off monsters by shooting at weak points, doing your best to be as accurate as possible to ensure you don't waste any crucial resources, before interacting with the environment when the action slows down to unlock a path forward. Again, it's very traditional survival horror in this sense and as the format simply works, and has for many years, it also feels like a rather natural incorporation into The Sinking City setup in this case.

Credit to Frogwares all the same however, as while they haven't looked to reinvent the survival horror format, they have introduced welcome enhancements befitting of The Sinking City's structure, which other survival horror games could perhaps learn from. For one, the investigative side of the series is somewhat preserved by offering an Alan Wake 2-like case board system where you can collate useful information. Instead of hoovering up letters and documents and losing them in a rather anonymous codex, now you can place the actually useful ones on a board where they are easy to reach so you can access their information quickly. This could be to solve a complex puzzle, with one example in this preview being related to a stone pillar with obscure symbols arranged over it. The idea was to determine the correct alignment of the symbols by cross-referencing documents to understand what each symbol meant and where it was to be used in the tiered arrangement. Again, this isn't a revolutionary idea at all, it's just a slightly more complex way of including puzzle mechanisms that doesn't overwhelm the player or require them to work through the game with a physical notebook on-hand.

On one hand you have the clear survival horror inspiration, which sprinkles in compact inventory management and backtracking when you have the right tools to access otherwise blocked areas. There's levels and locations with just the right amount of complexity and layering to make you feel as though there's always progression routes without standing out as confusing. And yes, it's more frightening, more focussed, and still equally mind-boggling at times from a mystery angle. You can feel the merging of ideas between Frogwares' prior games, like the Sherlock Holmes titles, and how this combines with the survival horror genre in an effective manner. From what I experienced of this preview build, the developer understands the assignment and how it all weaves together to make a cohesive whole. The big question is whether it will all hold up in the full story, as survival horror games can be made or broken by a lack of precision in how they put together their environmental puzzles, the horror atmosphere, and the survival combat, where the Alone in the Dark reboot is an example of a game that didn't quite have the balance correct. Judging by what I've seen, Frogwares has enough of a grasp on the assignment for The Sinking City 2 to stand out and for this to be a project worthy of keeping tabs on if you enjoy these kinds of games.

So long story short, I'm quite impressed by The Sinking City 2 and what I've seen from the game so far. It truly looks as though this could be a meaningful evolution on the The Sinking City setup, and while it could perhaps be playing a tad too safe from a survival horror design standpoint, the wider narrative, world-building, and emphasis on Frogwares' signature puzzle solving should enable this game to stand tall and be a worthy addition to the genre.

Lego Batman: Legacy of the Dark Knight Final Preview: The Dark Knight becomes a dark horse for the best of 2026

alex@gamereactor.eu (Alex Hopley) — Tue, 05 May 2026 15:00:00 +0200

I'm lucky enough to have had the chance to play Lego Batman: Legacy of the Dark Knight on two separate occasions now. The first time was at Gamescom, back in August, where we got a limited demo with a singular mission and some of the open world. That was a short, sweet taster of things to come. A starter course, with the most recent playtest, taking place in a wonderfully decorated Batcave complete with props from the live-action movies and intricately decorated Lego sets, giving us a much more detailed impression of what the finished product would look like.

In two hours, we got to play through some missions in the game's early chapters, seeing key characters enter Batman's life like Catwoman, Dick Grayson, Poison Ivy, and more. Lego Batman: Legacy of the Dark Knight might take pretty much everything Batman-related that came before, but it doesn't just spew out references and iconic scenes for pure nostalgia bait. Tt Games has coalesced what it considers to be the epitome of a Batman story, combining films, comics, past games, and more to create an Arkham-Lego hybrid that somehow balances the best of both. There's punchy combat, solid traversal, as well as a humorous story, packed with stand-out characters and visual gags that are bound to bring a smile to your face no matter how much London-induced strife you've endured on your journey to the preview session.

Taking much more of a story-centric approach, with combat that feels heavily inspired by if not largely ripped from Rocksteady's Arkham games, a first impression of Lego Batman: Legacy of the Dark Knight might be that it's trying too hard to please everyone. You can't make the funny Lego game have a rewarding combat system, and you can't make a pseudo-Arkham experience funny without ruining the vibe. I had those worries, too, but as I dove from platform to platform in Haly's Circus, swapping between Dick Grayson and Batman as we tried to disarm a ludicrously oversized bomb set by Two-Face, I felt like the developers had nailed each aspect of the game they're going for with Lego Batman: Legacy of the Dark Knight. It shouldn't be judged by the standards of either the Arkham series nor the past Lego Batman games. Sure, it takes plenty of inspiration from both, but it creates a new, exciting game that just gives you loads of Batman to enjoy, whether you're a nostalgic fan or have been drawn into everything Dark Knight following his recent Absolute run.

There's simply a lot of game with Lego Batman: Legacy of the Dark Knight. The story combines tongue-in-cheek Lego humour with classic Batman scenes, creating one version of the character that we'll follow from his early days to the established hero of Gotham. The missions are varied and unique, the side characters each come with their own abilities, and some feel even more fun than the Caped Crusader himself to play in the story mode. I kept switching to Robin in the Haly's Circus mission and Poison Ivy boss fight, for example. There's also a wide open world, which doesn't seem bogged down by ideas of unlocking certain areas via finding a nearby tower, or waiting until you've completed certain missions. There are secrets you won't be able to discover until you've got a certain gadget, but otherwise you can glide and drive around Gotham to your heart's content.

Something that was a slight concern when playing at Gamescom was the apparent lack of side activities in the game's open world. It was something I even planned to bring up in my interview. That was until I finished all the planned story missions in our demo. When I did get some time to kick back, spawn in the Batmobile, and tear up the streets, I saw there's a lot of varied side activities, hidden puzzles, and ways to get more bang for your buck outside of just drifting from mission to mission. It doesn't appear like there are any in-depth side questlines, but races, Riddler puzzles, combat challenges, random crimes, other puzzles, and additional activities mean you're often pulled one way or another to a bit of the city that needs saving. With so many skins to unlock as well, you're always on the prowl for a new look for Batman and his companions. That's not to mention the in-game Batcave, which is customisable, and comes with extra areas you can purchase with studs, minikits to discover, and a store run by none other than Bat-Mite for extra cosmetics, and upgrades to your abilities. As I said, a lot of game to sink your teeth into. It's difficult to complain about without sounding like you hate your steak being too juicy and your lobster too buttery.

When playing Lego Batman: Legacy of the Dark Knight, I get the same sense I did when diving into Astro Bot for the first time. Tt Games is simply focused on making the most fun possible here. It does lean towards a younger audience, yes, but us nostalgic uncs can still feel like we're getting our heart rates up a bit by switching over to the Dark Knight difficulty, again showing that Tt has thought of almost everything. There are a couple of small gripes, as there are bound to be. The Poison Ivy boss fight felt a bit lacklustre, especially in her first phase where I found I could just keep punching her in a corner with no repercussions. However, it's easy to ignore slight missteps in a product that succeeds so well in being incredibly fun to play. It's not a new Arkham, nor is it the Lego Batman games of yore. It's new. It's exciting. It's Batman. It works. Should the full release live up to the quality we've seen so far, I wouldn't be surprised to see Lego Batman: Legacy of the Dark Knight included in the conversations around the very best games of 2026.

Impressions: The Blood of Dawnwalker levels up and left us thirsty for more

david@gamereactor.eu (David Caballero) — Tue, 28 Apr 2026 19:00:00 +0200

As you, my dear RPG lover, might or might not remember, when I had my first look at The Blood of Dawnwalker at Gamescom last year, it was a hands-off demo. So when Gamereactor was invited to visit the ~~office~~ den of the Rebel Wolves in Warsaw the other day, I assumed I'd finally spend some hands-on time with the game as mage-at-day and vampire-at-night Coen. Alas, we were pre-briefed: you won't be allowed to play this time either.

What first sounded like a bummer quickly turned into the opposite. The game remains scheduled for 2026, with a release date likely revealed when you're reading this, so the fact that it still wasn't playable did raise some eyebrows. Yet the guided demo went from "worrying, something must be wrong or broken" to "wow, it has progressed a lot, I now know much more and I need to play this asap".

Because what this new preview build gave us was, first and foremost, proof of the significant evolution from last year's early beta. And secondly, much more context about its lore and the so-called "narrative sandbox": its characters, its branching storytelling and quest design, and how it works. Could we have grasped all that on our own while learning the smoother graphics and multiple choice-consequence scenarios? I don't think so, at least not fully, and therefore I kind of appreciated the guided demo.

With this seen and notes taken, two big question marks still hover over the project. Can it maintain this fascinating variety of consequential missions and quests across the 30 in-game days while keeping the same level of intrigue and reward? And, as this is still described as an open-world dark fantasy action RPG, what about that open world?

We only caught a few details on that front during the demo and our time with its directors and devs. There'll be shrines acting as teleportation points and skill-honing stations, no mounts, as Mateusz Tomaszkiewicz confirmed to Gamereactor during our interview, but Coen will be able to shapeshift into a wolf (why of course) for faster traversal. We also glimpsed the larger overworld map which, besides being beautifully hand-drawn for clarity, we're promised is "full of ancient ruins", but still got no real clue as to how the adventure will spread across it once you leave the village of Laslea.

Now, let's cut to the chase. This was the game's prologue, so unlike last year's Day 9 demo, which focused on setting, abilities, combat, and the investigative side, the first hour and change of a new game served a different purpose. After the same prerendered intro we saw last year we got to meet Coen and his full family, had our first rush of FOMO with the different choices you can make, and saw just how harsh and story-changing the consequences can be. In the meantime, we revelled in the much more polished graphics (aside from a few stiff dialogue animations, this one's a looker already) and approved of a fluid directional combat system that seems fully transformed based on last year's feedback and corrections.

And this is why I wonder if it'll keep the quality in the long run, because for an open world with ever-changing outcomes, the first few steps into the game looked so damn well directed. It almost feels like your typical God of War-type single-player, rigidly scripted action adventure.

Coen is a young lad living through difficult times of pestilence and famine in the Valley of Sangora, in the Carpathians. He used to work at the mines, where he contracted Argyria due to exposure to silver dust. This single element seems key to his special condition as a Dawnwalker and to the story overall. He's tormented by how his little sister's episode with the Vrakhiri (the intro, described in our earlier preview) might affect her, but Coen himself ends up infected by the vampires. Soon enough the big call becomes apparent here:

"Fight for your humanity or embrace the curse to save your family"

And this is not something you'll decide towards the end of the 30 in-game-day adventure, but constantly from Day 1. Your sister, Lunka, disappears in the tutorial, hinting that something is wrong with her, and perhaps with you, in a deliciously twisted reddish vision. Your mum, Esme, is ill, and the moment you're given control of Coen you must decide whether to fetch herbs for her. If you don't (and the Rebel Wolves didn't, as they deliberately spent time on other errands), she'll be brutally murdered, eaten alive before your eyes after showing weakness to Knyaz Brencis, the Vrakhir lord of this land. He might have done away with taxes and cured the villagers' illnesses, but he rules with a thirsty iron hand and "only" asks for one regular donation in return: "A pint of blood, once every Moon".

"Blood so thin it tastes like water" - Brencis on Esme's weakness

This single fact showed real consequence. You can kill important NPCs, decide how to tackle quests, and choose who you support. "Uncover secrets, fight the night alone or with unlikely allies - Experiment and watch the world respond, exploit each form's strengths". That's the philosophy here, which to me sounded and felt like my beloved Dishonored, but in a much more RPG-ish fashion.

And what did you do, you bad ADHD son, instead of healing your poor mother? As the main goal, if you want, is to save your family, we were told that you can make the right choices each day to keep them all alive, including your dad Pieter, your little brother Mirto, and your immediately younger sister Yanna. But as the ominous quote above teases, it looks like it'll be much easier if you give in and embrace your vampire abilities at night.

Instead of collecting herbs at the local doctor Anca, we saw several tempting side quests pop up around Coen as he walked through the village. Completing those objectives, as well as learning new abilities, moves the in-game clock forward. They ignored a well-paid offering and a lady in distress called Gremla (later irremediably executed at Father Florin's Blood Mass), and instead opted to save a missing pig (because why not, if only to illustrate consequences) and an acquaintance's missing brother.

Leaves, light, shadows, architecture, and nature details in Laslea's outskirts now look beautiful, full of added personality despite the tension and despair in the air. Soldiers keep a constant eye on villagers, Vrakhiri come and go as they please. Only nearby quests show on the map or compass, while a Batman-like Focus Mode reveals lootables, interactables, and clues on screen.

A castaway had the pig in custody, and the hourglass icon in the first dialogue choice showed that it would move time forward by one segment. It then triggered combat, with the directional attacks, manual dodges, and stamina-consuming auto-parries I explained last year. With the guy punched down and the pig chased down came wolves, showing no sympathy for Coen despite any remote kinship. Too bad the pig still ends up slaughtered and eaten for dinner by its true owner Iorgu, who was already sharpening his blade when we delivered it, an ironically hilarious touch made better by the fact you can also choose whether or not to join the meal.

The missing brother? The name's Lazar, and as we arrived soon enough in the day's timeline, he's still alive. But it could've been worse. His rescue, including some detective work, leads us to one of the ancient ruins, which naturally sets the stage for an alternative mini boss, The Forgotten Guardian, a dead man somehow brought back to life whose attacks are unblockable, for those who rely on auto-parry. "If I had to fight that thing, I'd piss myself", says our rescuee. Such a different mission you'll miss entirely if you spend your time elsewhere.

Instead of the more generic vessel we saw in August, Coen gained a lot of personality for us with this new showing. Given the many ways you can shape him, we understand he'll need to maintain some sort of "player-created character" space, but he also needs to hook us with the story and his motivations. The new artwork dedicated to him already says a lot more, and this prologue showed how he'll go from a very inexperienced, weak young boy prone to getting scared to a stronger, more confident protagonist.

Cinematography has also improved, in and out of cutscenes. The Blood Mass events feel tense and believable. We get to know a bit more about the other vampires introduced in the original sequence, and it looks like they'll act as Brencis' Koopalings for the duration of the game.

The Mass came later in the prologue so we could see what happens next, which pits Coen against his silver mine colleagues and puts his grieving, and thus reckless, father in danger. I won't spoil more, but suffice it to say he ends up missing too, and it's here that Coen starts to struggle with his newly acquired Vrakhiri powers, something linked to how Brencis put a fang in his heart. And I have to say we loved the moment he feels tempted to devour his friend Kostel as he lies covered in tasty, smelly blood. A full leg will satiate for now, as a tapa appetiser. Interestingly, there'll be decisions you will or won't be able to make depending on your Blood Hunger, which can actually decide for you when you need a refill, signalled by a red frame on screen. And yes, you will unwillingly kill friends and foes like this.

With more vampire powers at our disposal, it was the perfect section to show off the familiar abilities. Coen looks less human, uses his claws in combat, and grows fangs. He deals swiftly with Gollum-like annoying Kobold creatures in the caves, and puts Shadow Step and Plane Shift to practice, the latter letting him walk on walls like Spidey and, we're told, always available in the open world. A new vampire ability was Claw Ride, allowing Coen to slide down walls instead of walking on them.

The Vrakhiri Banneret featured in the last (night) combat showing as tougher enemies guarding a burning house alongside former friend and now untrusting colleague Vladimir. "Would a monster reason with you?", tries to humanise a Coen that can actually give in to the hunger if you choose to before it becomes automatic.

The icing on the cake? The final showdown with Brencis in the prologue, where he scratches Pieter's face to exploit his own son's thirst. Will Coen quench it on his father? Even this early in the game, it's time to face Brencis, the Knyaz of Vale Sangora, a thousand-year-old, experienced Roman soldier. Coen is no match for him, but then something happens: his silver-dusted Dawnwalker blood tastes bad and the sun is about to come out. "I should slice you open and study your entrails!" And our protagonist ends up pinned to a tree with a stake. How will he be saved?

We'll know that and beyond in a few weeks when we'll hopefully play the game ourselves to learn more about more advanced powers and mysteries, perk and ability-filled skill trees such as Swordmastery, the role of potential allies in the longer adventure, and of course the true open world scale we can expect from the full game when it releases later this year. For now, I can only applaud the many unique, but genuinely role-playing things The Blood of Dawnwalker is bringing to the table. If it holds up throughout like in the prologue, it can become something very special for genre fans.

Assassin's Creed: Black Flag Resynced - Five key takeaways from the reveal

ben@gamereactor.eu (Ben Lyons) — Thu, 23 Apr 2026 18:15:00 +0200

Well, it's finally happened. After years of rumours and leaks, Ubisoft has officially unveiled Assassin's Creed: Black Flag Resynced to the world, an adventure that will see players returning to the golden age of piracy in the Caribbean to revisit the story of Edward Kenway. With the announcement now official and the launch date locked in for July 9, 2026, we recently had the chance to see a bunch of Black Flag Resynced in action as part of a dedicated developer video, and with that in mind, here are five key takeaways worth knowing.

1. Resynced is still Black Flag as you know and love it...

Resynced is regarded as a faithful remake of Black Flag, which has been rebuilt from the ground-up using Ubisoft's Anvil Engine, the same powerful technology at the heart of the modern RPG-like Assassin's Creed titles. It has high resolution textures, enhanced lighting, a new dynamic weather system, a complete motion capture overhaul, and more, but at the same time, it's also just Assassin's Creed IV: Black Flag as you know and adore it.

The story has not been changed, the cutscenes still play out as they did, the original voice actor of Edward Kenway, Matt Ryan, has re-recorded his lines. This isn't a reimagining of Black Flag, it's a faithful remake, meaning devoted fans should recognise plenty even with the new glossy coat of paint.

2. ...but there are some welcome improvements

Building on the latter point, anyone who goes back and plays the original Black Flag today will likely notice a few archaic design choices. This remake is looking to address these. For one, parkour has been enhanced with new moves and more fluid mechanics, combat is being improved into a more action-oriented system that better reflects modern Assassin's Creed, plus there is seamless access to cities, ports, and locations from the Jackdaw. Adding to this is the ability to crouch wherever you want to enhance stealth, improved eavesdropping missions that no longer lead to instant desyncronisation, and a focus on each of Edward's weapons having a key place in the combat suite.

Again, the aim is to enhance the experience and bring it in-line with modern game standards and styles, all without losing the heart of Black Flag.

3. Don't expect multiplayer or DLCs to be featured, but there is other new content

Ubisoft has decided not to package the multiplayer or the DLC with this Resynced version, so don't expect those parts of the original game to be featured. However, in making this call, it has also decided to commit resources and time to serving up Resynced-exclusive new content.

We're not talking about much, but there are promises of minor new narrative arcs revolving around Blackbeard and Stede Bonnet, as well as new missions and scenes, including one with Edward's wife. There are three new recruitable officers for the Jackdaw, known as Lucy Baldwin, The Padre, and Dead Man Smith, who bring additional weapon options, with Smith offering Double Shot for broadside weapons. The Jackdaw will be a tad livelier with a cat or monkey pet that waltzes around on deck, while the crew sing shanties both new and old. And by the sounds of things, the core story will take a more modern Assassin's Creed approach by focusing on Edward's journey first and foremost while connecting with Desmond and the modern day when applicable.

If all of this sounds a bit much, you'll want to pay attention to the next point.

4. The original Black Flag will remain available

Yep, this is a simple and quick one: Assassin's Creed IV: Black Flag, the original game from 2013, won't be going anywhere. Ubisoft has promised that the original title will remain accessible for those who would rather play the game as it was initially intended. Essentially, Resynced won't be replacing Black Flag, it will be accommodating it.

5. Even collectors can join in on the fun

Lastly, Ubisoft promised Resynced's launch would be supported by the debut of a Collector's Edition for the game, with this being a premium and pricey version that includes a rather hefty figurine of Edward Kenway, a diary of Kenway's journey, a cloth map, and a broach, among other treats and treasures. The price for the edition has yet to be shared, but judging by the contents, it won't be cheap.

This was only a brief taste of the wider adventure, so stay tuned for more comprehensive explorations into the game. From what we've seen however, our initial impression is Ubisoft Singapore has done an excellent job remaking this game, taking what made Black Flag such a special project, preserving as much as possible and updating the areas that required it the most. It will hopefully also be a welcome change to the recent slate of Assassin's Creed, as by Resynced firmly being described as "not an RPG", it should retain its original more concise size and runtime, something that Origins, Odyssey, Valhalla, and Shadows absolutely lack.

With launch locked in for July 9, expect to hear more from Assassin's Creed: Black Flag Resynced sooner rather than later.

Early impressions: classic adventurers should hear the Call of the Elder Gods

alejandro@gamereactor.eu (Alejandro "Deemon" Fandiño) — Thu, 23 Apr 2026 18:00:00 +0200

It has been more than five years since Out of the Blue released Call of the Sea, and even more time has passed in-universe since Norah's trip to that remote island in the middle of the Pacific. Call of the Elder Gods is not out just yet, but after having the chance of going through its first three chapters —plus the Prologue— it becomes clear that it wants to establish itself as a proper continuation to that original story while still crafting enough suspense and filling some voids to be enjoyable those that will make this their first puzzle-oriented eldritch rodeo. So, the question isn't what Call of the Elder Gods is, but rather what are the ways in which it could surprise us.

In contrast to Call of the Sea and its The Lost World-inspired island, Call of the Elder Gods seems determined to manage a bigger pool of new yet expected atmospheres; an americana pastiche of elements sprinkled with noir-style narration, all in a picturesque world of gigantic manors with hidden doors, accursed caves holding gateways to temples long forgotten, and the kind of conspiracies you could expect from a secret society in the middle of the Cold War. The backbone of Call of the Sea is still there, but it all feels grander, expanded, and a bit less focused in lieu of what at first feels like an adventure flick, Raiders of the Lost Ark style, but rapidly shapes into something more akin to what you would find in a Call of Cthulhu campaign. The inspiration from Lovecraft's work is still clear and a given (one of the character's names and a bulk of the baseline narrative is lifted from The Shadow out of Time, a fact the Steam store page proudly recognises), but things like the back and forth of the protagonist or the general cadence and structure feel like something you could get out of experiencing the TTRPG, only with less interactivity and now it is realised into 3D landscapes... and what landscapes those are.

This is an extraordinarily gorgeous game, a beautiful collection of environments that gives form to a world that only offers more and more the further you submerge into it. The cartoon 3D style opens the path to glorious scenarios, just enough detail to trick your mind into seeing more than there is, but also so it doesn't feel overbearing. Jumping from place-to-place doesn't feel as jarring when you get to spend so much time ruminating on library walls and marveling at how the light seeps in and out of the caverns. There are some rooms that are clearly meant to be middle points for asset loading, and as such these are where most of the frame dips are found, but those instances are practically insular and only noticeable due to the game's linear nature. Even then, you will probably have to go back and forth for some of them, but even still, they are few and far between. Still, these pretty vistas, and they are pretty, are nothing if they don't hold puzzles worth interacting with, and that aspect is far more recognisable.

The first couple of hours present a real return to form, if you ever wanted more Call of the Sea? In that regard, Call of the Elder Gods is exactly that. The feeling of a point and click adventure brought into a more linear and open space is just as present; your notebook and knowledge in place of what would be your item selector screen, and a big, big focus on environmental puzzles that ranged between secret box style riddles to problems that span enormous instances or several rooms. Chapter 3's puzzle is so far, and by far, the stand-out in all of the best ways, a long-spanning multi-layered problem that focuses on the investigation side of things compared to the previous interaction focused ones, all which forced me to think things through, but also felt restrained. It felt pretty easy to get ahead of what the game expected of you, which makes some lines stating facts you already know feel redundant and makes the game's linearity to its immersion's detriment. Chapter 3, however, is mostly a set of rooms and a puzzle to solve, and here it shines through, not only because it's hard (at least for me and my weak, weak mind) but because it feels original and an exercise of a kind of archaeology and deduction based interactions with problem solving. I adore this in these kinds of games, and if there are more puzzles like it in the game ahead, I cannot wait.

I'd be remiss not to praise the presence of the Hint System, a given in most modern puzzle games, but that's carried out in the best way possible. You're never looked down upon for using it, but always encouraged to think for yourself. It respects you as a player and up until the very end, it acts as an extra, proper hint that can help your brain sort through the thoughts and gives you words of encouragement, a reminder that it's not wrong to use this kind of accessibility feature and it can strengthen your enjoyment of the experience. Even if you yourself aren't a fan or "good" at puzzle games, this is a feature that welcomes you with open arms, and I can only hope those unfamiliar with the genre make use of it if they find themselves interested in the game.

It feels rather soon to deliver any sort of verdict on Call of the Elder Gods as a whole, and the reason I've not even dared to tackle the story is because it feels rather foolish to make any assessments without reaching its conclusion, even if it keeps the same overall 80s film tone. What I'm sure of though is about my optimism with what's ahead. Should Call of the Elder Gods keep up these pace, it could end up being a really pleasant, interesting puzzle game and a beyond worthy sequel. Even now I leave it with a sweet taste and an appreciation for its exercise in environmental and riddle design, and if it has caught your eye, you definitely should keep it in your sight. Just don't stare at it for too long...

Call of the Elder Gods is set to release on May 12 for PC, Switch 2, PS5, and Xbox Series X/S, with a demo already available covering the first chapter of the game.

D-topia Gameplay Preview: An almost too perfect AI utopia

alex@gamereactor.eu (Alex Hopley) — Wed, 22 Apr 2026 17:00:00 +0200

In the age of AI as an artist's nemesis, it's quite bold for developer Marumittu Games to create a world in which AI has been a key part in making it a utopia. D-topia, the calm puzzle adventure developed by Marumittu and published by Annapurna Interactive, takes place in a harmonious future, where machines have helped humanity reach new levels of peace and comfort. We're concerned primarily with a facility in which man and machine work and live together. As a facility technician, it's our job to make sure all the AI-enabled robots are working well, and that the residents are living life as smoothly as possible.

D-topia positions itself as a calm, narrative-driven puzzler. Largely, the puzzle element is something you tackle at the start of your day, as everyone works at the facility's factory in the morning. These segments won't test the hardiest of Blue Prince enjoyers, or even casual fans of the odd Professor Layton here and there. Largely, that's the point. The challenge of the puzzles is minimal, because that's the world D-topia creates. You can see the solution almost immediately. All you have to do is move blocks around the screen, ensuring the right number is in the right position on the grid. In the 20-minute demo we played, no puzzle took me more than a minute, and most of them were completed in seconds. Then, after my shift of puzzling, I'm told by the robots waiting outside the factory what a brilliant job I've done.

I was so pleased with my puzzling ability, I even stayed to complete some overtime work. Wow, what a good little work bot I am! Again, these puzzles proved no great challenge, even if they were fun to complete. Afterwards, I engaged with the more adventure-driven aspect of D-topia's gameplay, delivering a USB stick to an eccentric resident and repairing a malfunctioning robot at a nearby store through another incredibly simple puzzle. D-topia's overly simplistic gameplay approach, peaceful music and cutesy visuals play on the ideas and themes we'd associate with the increasingly popular cosy games, Marumittu is keeping something back here.

Everything is a little too simple. The fact that so much of your day is done for you, from your breakfast being cooked to your uniform being washed and readied, combined with the constant praise for doing the lightest work brilliantly reflects the way an AI-enabled future could make us comfortable, yes, but it also could make us lethargic, entitled, and unaware of our surroundings. We'd be animals without any natural instincts, and it seems D-topia is well aware of this. In the trailer you'll see after you complete the demo, it's clear there's something else at play here. Some seedier underbelly hiding behind the surface.

I don't think D-topia will be doing a full Doki Doki Literature Club or Wanderstop, throwing itself to a different genre entirely, but I don't think it'll be the adorable, Ted Lesso-esque cosy puzzle adventure it shows itself to be throughout the entirety of its playtime. With such a short amount of time being given with the game, and with the demo only focusing on our first day, it's hard to say whether we'll be uncovering a mystery with the facility and its all too useful AI, or whether that will be an element of the story thrown in just at the end. Either way, I'm much more intrigued by D-topia after playing it than when I first saw it.

Cosy games are blossoming into a real powerhouse of gaming today, and so I never mind when I see a new one pop up on Steam or another digital platform. However, it seems that D-topia isn't going to be just another cosy title. It has something to say about AI, something to say about us being reliant on machines, that's clear within just a few minutes of playtime. However, I hope that the developers can make it clear what they're trying to say, and don't worry about sacrificing some of the calm atmosphere D-topia gives off to make this much more of a unique experience. It's difficult to make any real early impression after just 20 minutes, but D-topia has done just that, and I'll be thinking more about what it's got in store ahead of its July release.

Frosthaven: Into the Abyss Preview - Life is better, down where it's wetter

alex@gamereactor.eu (Alex Hopley) — Wed, 22 Apr 2026 15:00:00 +0200

With the other major Frosthaven content updates, we've explored the lands surrounding our outpost, bundling ourselves up for more snow, ice, and tundra, or delving deep into the hidden caves and dungeons full of secrets. Now, for Into the Abyss, we unfurl our sails and ready our breathing masks, as we head across and into the depths of the ocean.

As you might expect from the name of this final content update, most of the story is to do with water. This also includes gameplay mechanic changes for fights on the water and under it, as well as two new characters that feel very much suited to splashing about among the tides. As we were told the player base isn't very keen on spoilers (who is?) we'll use the non-spoiler names for these two characters. They're called Kelp and Coral by the development team, and have unique abilities as well as designs that separate them from the rest of the Frosthaven heroes you can bring on your adventures.

The new fellas might be the most adapted to an underwater environment, but there are some nice little details for the pre-established heroes you can bring with you. We were shown the Blinkblade wearing a snazzy little mask which allows them to breathe underwater, for example, and were told that there are plenty of mechanics that'll mean underwater combat is more than just a change of scenery with the odd bubble effect here and there. Our enemies and potential allies in Into the Abyss are the Lurkers, a crustacean race of people that are wonderfully alien in their design, as well as being quite diverse. There are leaner lobsters and bulkier crab-looking dudes, again showing Frosthaven's great character design. You see it a lot with the playable heroes, but it's also nice to see you're not just fighting different coloured crabs for the new missions.

Outside of the content that's specific to the underwater missions, heroes, and story, Into the Abyss also brings a lot of welcome visual and UI changes to the game. We're not quite at the stage where every hero has their own tutorial yet, but we do have plenty of other fan-requested features implemented. There are new animations, gauges for each character, clearer information about obstacles, traps, and terrain. There's new options, too, which allow you to customise how you play, such as the ability to give you a reminder of all your played cards before you end your turn, and more camera options that mean it won't fly all over the place, only focusing on your character when you take damage. These things might only be noticed by a select portion of Frosthaven's player base, but when you add minor details like that, fans are sure to appreciate it and the effort that it takes.

Outside of the new options and visual improvements you'll see on the map in combat, Into the Abyss prepares the non-combat aspects of Frosthaven for 1.0 as well. At your camp, you'll now have a calendar, just like in the board game, something that fans have been requesting for a long time. You'll also have new reminders thrown at you when taking a look at your outpost, making sure you're aware of any upgrades and things like that, akin to a strategy game like Civ where you can't press next turn until you've at least acknowledged all the things you can do prior. Adding to the sense that players can now take the game at the pace they please, and look at content when they want, story events can now be minimised until later, meaning you don't have to ignore a hero's retirement if you've got another priority in the moment they decide to hang up their hat, for example.

A lot of Frosthaven's Into the Abyss changes feel like they've brought the initial vision of the game to life. It feels like only yesterday I was checking the Early Access release out for the first time, a bit unsure of its barebones appearance. Now, the game looks like a brilliant recreation of the popular board game, as well as a great dungeon crawler in its own right. The underwater content is a welcome addition, but after exploring that, players will likely be most impressed by how improved the overall experience is now. There are still nice-to-haves that are missing, like the aforementioned character tutorials, but this latest batch of content for Frosthaven feels like it best encompasses the feedback Snapshot Games has had since day one from fans.

Metro 2039 Preview: Our first impression of 4A Games' next project

magnus@gamereactor.eu (Magnus Groth-Andersen) — Thu, 16 Apr 2026 19:15:00 +0200

It has been seven years since we last heard from Ukrainian studio 4A Games. In the meantime, a group split off from the main studio to form Reburn, which released the somewhat disastrous La Quimera, whilst GSC Game World - where the founders of 4A Games come from - brought the S.T.A.L.K.E.R. series back in full force.

In other words; seven years is a long time in this industry, but now 4A Games is finally, finally ready. By the time you read this, Metro 2039 will have been formally unveiled via an in-depth Xbox First Look presentation.

So let's briefly summarise what Metro 2039 is, what it isn't, and what ideas and circumstances have shaped 4A Games as a studio and Metro 2039 as a game.

Right, so Metro 2039 is, in a nutshell, a new AAA game which, as the title suggests, takes place three years after Metro Exodus ends. The idea is to send the player "back into the tunnels", so it seems the larger open spaces from Metro Exodus, as well as the more freedom-based level design from that game, are being dropped in favour of a more claustrophobic and intense single-player experience.

The game is built using the studio's very own graphics engine, the 4A Engine, which allows for some truly stunning environments. The brief glimpse of gameplay we've seen, along with the studio's supporting explanations, seem to suggest that we can expect something visually lavish, as well as a focus on immersion above all else. This is expressed, for example, through what the studio calls "frozen stories", meaning that as a player you'll be able to see these detailed snapshots of life right up until the catastrophe struck, and how the environments can tell their own stories without the need for spoken dialogue.

It doesn't appear that we'll be playing as the series' usual protagonist, Artyom, this time. Instead, you are "The Stranger", a protagonist who, after spending time on the surface, finds himself forced to delve back into Moscow's metro system. He does so, among other reasons, because all the factions we have seen previously have been united under a single totalitarian, tyrannical, and Nazi-inspired banner, the Novoreich. This regime is led by the enigmatic Führer Hunter, and the parallels - from the persecution of anyone with critical views of the regime, to endless amounts of propaganda, misinformation, and indoctrination - are clear.

The game appears to have a darker feel, a more horror-like tone, and a focus on pure survival in the tunnels. The studio itself states that this darkening of the Metro franchise is also due to what has happened in our own world since Metro Exodus arrived in 2019. Russia invaded Ukraine in 2020, and although a large part of the studio is now based in Malta, they say themselves that they are "majority-Ukrainian", and that the game has therefore been developed during the ongoing invasion.

"War is now a reality," as the developer says during the presentation, so now Metro is no longer about warning against the horrors of war, but about the consequences of waging war against one another.

As mentioned, the brief gameplay glimpse is short. The Stranger explores an incredibly detailed area, where he is then attacked by what appears to be a Lurker, a rat-like mutant that has been a recurring enemy in previous games in the series. He is, however, rescued by a team that just manages to close the gates to a safer part of the metro before the monsters overrun them. That's all for now, but we do know that the game is coming to Xbox Series, PC, Steam, the Epic Games Store, and PS5 this winter. We assume this places the game's release in December, as there appears to be absolutely no interest in launching major games anywhere near Grand Theft Auto VI, regardless of genre.

Although Exodus was a hit, there are apparently many who believe the game strayed too far from the series' more claustrophobic roots. Metro 2039 is a response to that, and the game appears dark, brutal, and kinetic, whilst also tying in more organically with the earlier Metro instalments. You've got plenty to look forward to.

Morbid Metal Early Access Impressions: Ghostrunner meets Infinity Blade in fun, flashy action

alex@gamereactor.eu (Alex Hopley) — Tue, 14 Apr 2026 11:00:00 +0200

Do we need any more roguelikes, roguelites, and everything in between? I ask myself the question almost every year, and then one, two, or a few games will step out and prove that we might not need them, but these games still provide plenty of enjoyment. Mewgenics and Slay the Spire II have already made 2026 a great year for roguelikes, but if we look away from the more mainstream entries in the genre, we still find plenty of gems, like Morbid Metal.

I wasn't sure what to expect when I first jumped into Screen Juice and Ubisoft's futuristic, fast-paced hack-and-slash roguelite. You start with a simple, five-minute tutorial that gives you the basics, but by the end of your first or second run you'll quickly realise that you've only been taught the most simple skills you'll need. To reach the ceiling of this game will require hours of trial and error as you hone characters, combos, and create the synergy Morbid Metal requires to flow at its best. That said, the early stages are still incredibly fun, and I quickly found myself thoroughly engaged in the combat systems.

Morbid Metal has currently just entered its Early Access release, so there's still a lot of work to be done on a few elements. One thing that instantly stands out as incredibly polished, though, is that combat system I mentioned before. It's fast, fluid, and incredibly flashy. It allows you to create your own rhythm, with special abilities and super smooth character swapping. These things take a minute to get used to, and are a bit tricky if you choose to play solely on keyboard and mouse, but are incredibly rewarding once you've got the gist of it. Quickly jumping between foes as Flux, launching an annoying backline enemy into the air as Vekta, then getting to slam down with powerful attacks as Ekko is a monstrously satisfying experience. The three playable characters are distinct enough that you'll certainly have a favourite, but you'll soon learn to make the most of them all if you want to play to the best of your ability. The overall loop and formula of Morbid Metal might feel a bit repetitive, but as soon as you reach the next combat room and enemies spawn in, it's easy to lose yourself in the flow of a good fight.

In the short time I've had with Morbid Metal, I've not had too much experience with the bosses. Or, more accurately, I've not had any luck beating them in the few hours I spent on the game prior to the Early Access release. They're certainly strong, menacing, and push you far harder than regular enemies do. There's a good amount of variety in the robots you'll face in each run in Morbid Metal. Robots with shields, flyers that can be irritating if you don't take them out early, pesky, smaller foes that'll stab you in the back if you forget about them. They're enough to keep you on your toes, and stop the pre-boss fights from just being one big boring button mash experience.

Morbid Metal, as you may have gathered thus far, has a lot of potential. The setting and story in the background are not quite as intriguing as the combat is engaging, but they're certainly worth thinking about as you strive to free your playable AI character from the endless combat simulations. The narrative is what you'd expect from a roguelike, really. Something to keep you playing, but not the central core of the overall experience. If it's story, setting, combat, and mechanics are all super tight, then, what's the issue? Well, I think that Morbid Metal has the most improvement to do in its roguelike elements, actually.

When you drop into a run, or an iteration as Morbid Metal calls it, you'll immediately know what to do if you've played a roguelike before. Run from room to room, fight a few basic enemies and grab upgrades as you go. With Morbid Metal, this loop doesn't quite feel as compelling as it does in the genre's best. The upgrades seem a little too underwhelming, with a lot of them offering percentage-based increases on attacks, rather than interesting abilities that really change the way you play. With such strong combat mechanics, it's understandable not to want to change that, but at the same time then I'm left wondering if this would have been better as just a regular hack-and-slash experience. The exploration is quite fun, but taking a fall can be incredibly punishing, so at times you're not even sure if you want to strike off from the main path, knowing the upgrade you're likely to get is probably not going to be noticeable. We're still very much in the early stages of Early Access with Morbid Metal, so hopefully this issue can be fixed, alongside other elements that need attention ahead of the full launch. It's worth mentioning the dodge mechanic can also be a bit hit or miss at times.

Morbid Metal is in its current state a blazingly fast, impressive hack-and-slash game, and while its roguelike mechanics do feel like they need polishing to add some worthwhile upgrades for your character, the action is so good that you'll gladly go for one more run after your last defeat, just to sharpen up your combos and test out new ways of chaining them. Morbid Metal is a pleasant surprise in many ways, but it's nice to see that if all goes well with it, we won't just be discussing Slay the Spire II and Mewgenics as the great roguelikes of the year.

Wyldheart Preview: A promising adventure for all TTRPG lovers

ben@gamereactor.eu (Ben Lyons) — Fri, 27 Mar 2026 20:30:00 +0100

If you're a fan of shooters and particularly EA and DICE's recent effort to reboot Star Wars: Battlefront, you are probably somewhat familiar with the names Dennis Brännvall and Fia Tjernberg. These two were crucial to both Star Wars: Battlefront and Star Wars: Battlefront II, with Brännvall serving as the creative director of the latter game and Tjernberg being the former studio director of technical design at DICE too. The reason I'm highlighting this is because following EA deciding to move on from all things Battlefront, at least for the foreseeable future, the pair left DICE to create their own studio known as Wayfinder Studios, a developer that has just properly lifted the curtain on its debut title.

Known as Wyldheart, this game is a far-cry from Battlefront as it trades large-scale multiplayer sci-fi warfare for that of a rustic RPG world with an inherent focus on cooperative gameplay. Essentially, imagine going from making Call of Duty to Baldur's Gate. That's the sort of leap we're talking about here. I would also know as recently I had the wonderful opportunity to try an early portion of Wyldheart, a brief demo that was led by Brännvall and Wayfinder's marketing director, Erin Bower. You can even see an interview that I conducted with this pair below that features snippets of our own gameplay from Wyldheart.

For those looking for a more comprehensive preview, we can get into that business now. It should be said that the part of Wyldheart I was able to test was only a snippet of the wider game, which promises a persistent multiplayer world and multiple campaigns that last around 10 hours each. So it's hardly a firm taste of what the end product could look like, even if I am eager to see more.

The long and short of Wyldheart is that this is a cooperative game heavily inspired by TTRPGs and Dungeons & Dragons. The premise is all about taking basic narrative anchors and then using this to make a story that is your own. For example, you create a character out of three race options (Freefolk, Mossling, Grimhorn) and then build them out further with defined jobs that sets the precedent for how a character plays and also by tweaking the model with a variety of customisation elements to give the character a personal touch. From here, you can then load into a world where you steadily complete tasks and missions that tie into a wider story. And again, the cooperative nature allows a play session to support up to four users at a time but the persistent world, without one player serving as the host, means far more players can partake by hopping in at differing times and helping advance the story and aid in progression in other ways. The press release mentions that this game intends to make the nature of scheduling a game night easier than ever and it's hard to dispute that claim from my experience so far.

Anyway, the actual gameplay, the portion I experienced included a dungeon and then a brief foray into the wider world. For the dungeon, it's much of what you would expect in that you wander around dark and tight corridors, defeating enemies, avoiding traps, and looting everything you can in a bid to amass helpful resources and also discover some of the secrets that are otherwise hidden. The gameplay functions from a third-person perspective and has a quite basic, MMO-like combat system, where you swing melee weapons, block attacks, manually dodge and avoid deadly strikes, and can even switch to magical or ranged options if you have the right tools or class types. With this in mind, you steadily walk through the dungeon while clobbering skeletons and gooey slimes with swords, hammers, and other weapons, earning experience and finding more powerful gear that makes combat easier and your hero much tougher.

Dungeons do have minor puzzles to solve, which will no doubt become more complex and demanding as the story advances. For the sake of this build, the idea was to find different coloured items, mostly in the piles of goo dripping from the walls, and then using these in the right place to open a door to a boss enemy with an enormous health bar. This is where teamwork and having a variety of weapons and skills comes into effect, as the boss I faced with Brännvall and Bowers was particularly weak to fire damage, meaning the explosive barrel that Bowers heaved at this threat proved to be insanely effective, eliminating the opponent in one swift action.

From here, we picked up the next stage of the quest and exited to the main world. After a brief stop at a camp fire to dine and rest until morning, we travelled to the nearest town, a quaint collection of buildings that features all of the amenities adventurers could possibly want. Whether it's an inn with a comfortable bed, a blacksmith to improve your gear, additional and lovely homes that have been decorated by hand, or even the next quest giver, there's enough here to fill your time. There are even rumours to eavesdrop upon that could take you on exciting adventures and lead you to powerful gear, assuming the rumours were accurate in the first place...

In a very TTRPG-like manner, Wyldheart also doesn't hold your hand in the traditional sense. It's not a complex game that will have you tearing your hair out, but the sense of adventure is preserved by eliminating a compass/mini-map that never fails to give you direction and by having quest steps that are open to interpretation instead of serving as an instruction manual. It may take a moment to adjust to for the uninitiated, but for those who have friends to play with, this design choice should work to simply enhance the thrill of adventure and retain a sense of agency and mystery.

As this is the first look at Wyldheart and since the game is still early in its development, with the search for Kickstarter backers now beginning, we'll skip over talking about performance and visuals, as these areas will undoubtedly change a lot in the months and years that follow. What likely will remain more solid is the game direction and intention behind Wyldheart and it's here that I find myself most confident in what's being cooked up. The developers are very passionate about all things TTRPGs and that can be seen very clearly throughout this game. There's character and charm, passion and pride, and often with debut indie games like this we can raise questions about the ultimate and ambitious multiplayer and technical goals. Considering the DICE heritage (plus other staff from Embark Studios and Mojang) at Wayfinder, this shouldn't be a problem for Wyldheart.

So a strong start for a promising video game. We'll be keeping a keen eye on Wyldheart as it continues to progress, but the key final thing to note today is that the game will be launching on PC sometime in the future.

Violent Beauty: We went to Helsinki to visit Housemarque and play loads of Saros

ketil@gamereactor.eu (Ketil Skotte) — Thu, 26 Mar 2026 16:00:00 +0100

{Returnal} was the sort of surprise I wish we had more of. On paper, it sounded audacious that Finnish studio Housemarque, known for incredibly tight arcade action with a story that was either poor or non-existent, had set out to tell a deep and compelling science-fiction story with thematic coherence. They even wanted to go fully 3D instead of the side-scrollers and top-down titles they'd made their name on. In fact, {Returnal} also started out as a top-down game in the style of {Dead Nation} and Alienation, founder and CEO Illari Kuittinen tells me over a beer the evening before the preview event to which Housemarque and PlayStation has invited the world's gaming press. It's {Saros}'s turn to bask in the limelight after five years of development and confidence is high. This is undoubtedly because that boldness paid off, as {Returnal} was one of 2021's best games and proof that Housemarque could easily step into its new role.

{Saros} does not break new ground in the same way. It is, to a greater extent, "Super {Returnal}", a spiritual sequel that builds on the ideas {Returnal} introduced, but in a new world. That much is clear after more than three hours with the game. However, this should not be seen as a criticism, as games take a long time to make, and {Returnal} laid such a strong foundation that it makes sense to build on it, and because Housemarque has once again succeeded in creating a universe and a story I'm incredibly curious to unravel, whilst refreshing the gameplay in exciting ways. {Saros} looks set to be another hit from the Finns.

Our protagonist, Arjun Devraj.

But let's rewind a little. One of the people who can rightly be credited with Housemarque's tremendous development as storytellers is the Brit Gregory Louden, who, like several others at Housemarque, joined the studio from Remedy, and who, as narrative director, laid the groundwork for {Returnal}'s unique take on intergalactic sci-fi meets cosmic horror. At the time, Harry Kruger was the director, but having been involved in {Saros}' early stages, he handed the reins to Louden, who opens the presentation that forms the basis of our time with {Saros}. "This is a dream project made by a dream team," says Louden. A phrase that has been used right from the announcement. However, it doesn't seem (just) like hot air. Over the two days I spend with Housemarque - both in the studio and in, shall we say, more informal surroundings - I speak to a good handful of different people from the team and the enthusiasm is unmistakable. Of course, they're also happy to finally be able to really talk about what they've spent the last five years working on, but they also seem genuinely excited about what they have to share with us. This is evident when my table companion at the welcome dinner, VFX Lead Sharman Jagadeesan, enthusiastically snaps a photo of the {Saros} menu lying beside our plates, or when Kuittinen regales a small group of journalists with anecdotes about the studio's convoluted history.

There is good reason for the enthusiasm. As mentioned, {Saros} builds on the formula introduced by {Returnal}. At its core, it's a challenging action game, a "Ball Brawl", as Housemarque cheekily calls it, where gameplay comes first, but the world and story aren't far behind. There are clear roguelike and Metroidvania elements, but the former are less pronounced than in {Returnal} (more on that later).

Housemarque has physically recreated parts of the Soltari colony in their studio.

Although Housemarque prioritises gameplay above all else, I'd like to switch things around and start by setting the scene narratively. You play as Arjun Devjrac; a soldier from the Soltari conglomerate, whose complete indifference to the value of human life brings to mind Weyland-Yutani. Arjun is part of a rescue mission tasked with finding out what has happened to the three waves of colonists that Soltari sent to the planet Carcosa to mine a valuable energy source. According to Louden, Arjun's role in - and relationship with - Soltari represents the classic science-fiction side of the narrative coin, whilst Carcosa and its former civilisations embody the cosmic horror.

Unlike {Returnal}, where you, as Selene, were completely alone, in {Saros} you have a handful of colleagues you can talk to in the starting area, which has been vastly expanded compared to {Returnal}. This makes sense structurally as a breather where you upgrade your abilities and chat with the others provides a much-needed break from the core gameplay, but I was worried that it would dilute the sense of helplessness that was so powerfully conveyed in {Returnal}. Fortunately, Housemarque pulls off a narrative masterstroke by having one of your colleagues attack you on your very first visit, thereby establishing that Carcosa has a terrible effect on people. The question quickly becomes who you can trust and who will be next, creating a paranoid atmosphere where you need each other but, at the same time, don't really trust one another. When, for example, the mission's gardener suddenly starts talking nonsense, alarm bells start ringing, but then he makes an excuse and makes you think that perhaps it's just you who is paranoid.

Arjun, however, is no angel himself, for he is harbouring a secret. He is searching for someone, and he prioritises that search above all else, yet fails to share a single word about it with any of his colleagues. Why he keeps this search hidden is not yet known, but one suspects his motives lie in a grey area of sorts.

Saros' take on the classic shotgun.

"I love writing science-fiction stories," Louden tells me enthusiastically, before I settle down to play. And it's clear to see, because although many of the narrative elements are familiar to anyone reasonably well-versed in science-fiction and horror, it is, so far, a compelling cocktail that I can't wait to drink every last drop of.

The same can be said of the incredibly tight core gameplay. For a third-person shooter, it's fast-paced and arcade-style, just like {Returnal}, but it feels even more precise and impactful. The big change is the shield. In {Returnal}, it was mainly about dodging using Selene's handy dash. That's still the case here, but Arjun also has a shield which, as well as protecting him, can absorb bullets, converting them into energy that can be used to fire a powerful special attack. You activate the shield with R1, meaning both R1 and L1 are in constant use, as the shield isn't effective against all projectiles. The standard blue ones are fine, but corrupted orange bullets will damage you. This brings to mind the developer's brilliant 2011 title Outland, which also played with colour-coding in a similar way.

In its marketing of {Saros}, Housemarque has made a point of explaining how, with its permanent progression, it's more accessible than {Returnal}, but the addition of the shield actually increases the complexity and requires you to approach the game differently by constantly assessing whether to seek out or avoid an attack.

All in all, {Saros} is a challenging game. The game's first boss, Prophet, thrashed me a handful of times before I got the hang of it, and whenever I let my concentration slip, I was punished severely.

Prophet is, incidentally, a wonderful culmination of the first biome, Shattered Rise, which introduces {Saros} in the most beautiful way. The neoclassical architecture and spectacular vistas are a far cry from the overgrown ruins that introduced {Returnal}. In fact, they bring to mind FromSoftware's decaying worlds, a comparison that becomes no less relevant when the game's art director, Simone Silvestri, tells me that the tower looming on the horizon is a place we'll be visiting.

"Violent beauty" is the mantra for the game's art direction, and when Silvestri explains his process, the phrase makes perfect sense. "I like to start with the basics. History, mysticism, folklore. You take something relatable; something you can understand, and tear it apart. I love contrast and clashes, so I take another idea that's very different, make them fight, and see what develops," he says. The result is striking. It's still dark and at times claustrophobic, but also opulent and grandiose.

Like Louden, Silvestri has also joined Housemarque from Remedy, Helsinki's other major non-mobile developer. There seems to be great respect for colleagues in Espoo, but that doesn't mean the approach to game development is the same in both places. "At Housemarque, there's a different approach to collaboration between departments," he explains, continuing with, "when you're at Housemarque, you need to understand the gameplay second by second, minute by minute and hour by hour at a truly fundamental level, because we're a gameplay-first developer."

Arjun's armour is inspired by action heroes from the 80s and 90s.

Silvestri is an interesting person to talk to because his department has to bow to the sacred cow of gameplay, yet is still held in high regard. "First priority: improve the gameplay. Second priority: world-building. The priorities are very clear," as he puts it. For example, when he started working on the art direction for the spheres that are so important in Housemarque's games, he added a lot of effects such as lightning, after which the gameplay designers had to ask him to tone it down a bit, because it was almost impossible to see what was happening on the screen. Similarly, there is also a system for the layout of the screen, he reveals. "At the top of the level design is where you find all the details. The middle is simpler, because you need to be able to read it easily."

It's impressive how seamlessly the tight gameplay works with the captivating world in practice. Especially when, after defeating the aforementioned Prophet, I venture down into the second biome, Ancient Depths. Here, breathtaking vistas have been replaced by a twisted, metallic underground that feels like something out of Scorn or perhaps Aliens.

The comparison with Aliens seems particularly apt, as Silvestri explains that 80s action films were one of the major visual inspirations. Ancient Depths is also the biome that introduces choice in {Saros}. Whereas Shattered Rise is entirely linear, Ancient Depths has two core objectives that can be completed in any order. Combined with the markedly different visual style and the more claustrophobic combat, it feels completely different whilst fitting in brilliantly. "We want each biome to be its own thing," says Silvestri, teasing even more striking changes later in the game. Housemarque won't say exactly how many biomes there are, but judging by the menus, six is a reasonable guess.

Depending on the order you choose to complete your objectives, you'll trigger a solar eclipse either early or late in the biome. The solar eclipse is another major difference from {Returnal}. Carcosa's former civilisations attempted to use it to reach a higher plane. They shed their skin and endured pain, madness, and greed. They would do anything to attain the power the eclipse had the potential to grant. These are grim matters, which we are fortunately allowed to peel back layer-by-layer. Mechanically speaking, it makes most sense to think of the solar eclipse as a corrupted state, where the surroundings change, enemies become more aggressive, and the power-ups that normally only make you stronger also come with drawbacks.

It's exciting stuff, partly because Silvestri explains that the eclipse varies from biome-to-biome, but also because the aforementioned drawbacks add a much-needed layer of risk/reward to the progression during each run. This aspect, in particular, is one of the few things I didn't love about {Saros}. Usually, you're simply handed an upgrade without having to make a choice, which diminishes the sense of building up your Arjun throughout that particular run. There are choices along the way and also a reward for being curious, but from what I've played, you don't have nearly the same control as in, say, Hades. This also applies to the permanent progression, which, despite the choices, is still just about as linear as it gets. Initially, you upgrade either your health, your ability to quickly collect upgrade materials, or your shield. There's nothing wrong with that, as it's useful, but it's not particularly exciting either. However, I did manage to unlock "Second Chance", which, as the name suggests, revives you when death strikes.

I can only hope that {Saros} comes up with more game-changers like this.

But even if the roguelike elements end up being less prominent, it won't spell the end for {Saros}, as it's significantly less rogue than {Returnal}. I've already touched on the permanent progression, but perhaps even more significant is the fact that you can teleport directly to a biome once you've unlocked it. This means shorter runs, and for all of us who played {Returnal} at launch, it's also welcome news that autosave during runs is included from the start.

Housemarque is based in central Helsinki.

I hope the above makes it clear that I'm pretty excited about what I've played so far. As someone who absolutely adored {Returnal}, {Saros} is perhaps my most anticipated game of the year, but I was also a tad sceptical about whether it could recapture the magic. Based on what I've played, however, I can slowly start to put my concerns aside, because {Saros} is exactly as captivatingly bleak as I could have hoped; it plays like a dream, and it doesn't really resemble any other AAA game on the market apart from, of course, {Returnal} and perhaps the three latest Doom games. This is primarily due to the fusion of dark science-fiction with narrative depth and arcade-inspired shooter gameplay, but also to Housemarque's "almost engine" Graphite, which visually sets it apart from the sea of UE5 games with its "hypnotic sphere patterns", as Silvestri likes to call them.

Before {Returnal}, Alienation, and funnily enough, Supreme Snowboarding were the biggest projects Housemarque had been working on. With {Returnal} and now {Saros}, they've moved up into a different league without losing that arcade spirit I've always admired them for. After the opening presentation, Kuittinen joked that Housemarque might combine snowboarding with bullet hell (sorry, ballet!), but then quipped that they'd probably be making third-person action games for the next 10 years. An innocent joke, were it not for the fact that, after a few beers the night before, he mentioned in a far more serious tone that ideally one should have a 10-year plan.

If the next decade is to be all about {Returnal}-style games, I'll be the first to welcome it, as long as the Finns can continue to approach the task with the passion and craftsmanship they've put into {Saros}. Hopefully, the rest of the game lives up to those opening hours, because in a vulnerable industry, we need people like Kuittinen, Louden, Silvestri, Jagadeesan, and the rest of Housemarque.

Starfinder: Afterlight Beta impressions - The potential to reach for the stars

alberto@gamereactor.eu (Alberto Garrido) — Wed, 18 Mar 2026 15:00:00 +0100

Role-playing is more alive and in vogue than ever. Although it has always been a niche hobby, there is no denying that its cultural impact has steadily permeated the wider entertainment culture for over 50 years now. And from the very beginning, video games have been a medium in which the concept has not only been developed and expanded, but has also been enriched, diversified, and broadened, before being brought back to the table with pen and paper. I also like the fact that we're in the midst of a huge simultaneous boom for TTRPGs and cRPGs, because that has meant we're on the verge of experiencing titles like Starfinder: Afterlight.

Over the last few days, I've had the chance to try out an early build of a beta version of the game—a 'vertical slice' offering just an hour of gameplay, but with the chance to try out three different approaches using three different characters. And my first impression is that it has all the ingredients to be a memorable experience within the genre.

Although it's controlled in a similar way to other recent cRPGs such as Baldur's Gate 3 or Warhammer 40,000: Rogue Trader, Starfinder: Afterlight is closer to the experience of Pathfinder: Wrath of the Righteous, as they are based on an essentially similar game system. The key point here is that Starfinder: Afterlight takes fantasy into a futuristic setting where numerous human and alien species coexist in the Worlds of the Pact whilst exploring a galaxy in search of new worlds, unknown cultures, and endless riches.

It's in this setting of space explorers, warring empires, and pirates that we enter Starfinder: Afterlight, as one of Captain Khali's crew members. The demo allowed you to choose one of three characters from that crew as your main protagonist: Yunna, a tough-looking human Soldier with balanced combat and dialogue skills; Whinnik, a Vesk (a sort of space draconid) of the Envoy class (something of a cross between a Rogue and a Bard), and finally Ixo'tle, an Operative Shirren, an expert in technology and ranged combat. Three ways to engage with this universe, but with the same objective: to find out why we have been adrift in hibernation for five years, to find our captain, and to continue our adventures. In the Starfinder: Afterlight beta, we'll begin as soon as we emerge from the escape pod, and we'll have to explore the Hivemarket Entertainment District on the planet Akiton, where we've just crashed. There, we'll need to build relationships with some key characters and form a party with them. Finally, a short skirmish to put these characters' skills to the test.

The game is based on a point-and-click system similar to those seen in the examples mentioned earlier, with skill checks such as Technology or Persuasion in dialogue based on rolling a d20, but it adds some quality-of-life improvements that I've really appreciated. The first is that whenever a term relevant to the Starfinder universe appears in text-based dialogues, a pop-up comment appears to explain it. The second is that, in addition to objects, the interface also highlights NPCs with whom you can interact via dialogue, even if only to give you brief hints with little bearing on the story. These are two small details that help immerse you in the story.

Aside from the controls, the other aim of this beta is to showcase the Epictellers team's ambition to give substance to their story and their talent for taking it to the stars. And even though it's an early build, the work of the voice actors for the Narrator (Roger Clark), Preach (the unmistakable Neil Newbon, who also leads the VA team), the Solarian warrior Sterling (James Alexander), and even the few lines spoken by Captain Khali (Carolina Ravassa) show their affection for the project. The environments feature both foreground and background animations, showcasing a lively 'nightlife' in a bustling futuristic city, and we can explore alleys, basements, bars, and terraces, rummaging through bins, searching for gear and healing items, and preparing for the next encounter.

There are obvious limitations in such an early beta, particularly regarding access to and use of the inventory, but from what we've seen, it's clear that Starfinder: Afterlight will begin its Early Access in 2026 (on a date yet to be determined) as another promising title in the cRPG genre and one of those games that, if you enjoyed Baldur's Gate 3, Rogue Trader, or Pathfinder, could give you exactly what you're looking for: a new universe in which to embark on adventures, meet memorable characters and go where no one has gone before.

Pragmata Preview: Puzzles, platforming, action, and a highly accomplished setting

alfredo@gamereactor.eu (Alfredo Pavez) — Tue, 17 Mar 2026 16:00:00 +0100

Pragmata is Capcom's new IP which, after suffering a couple of delays and an advance, arrives to show us that new IPs can also be good and that Capcom has more than enough talent to keep its longest-running and most beloved series afloat, without neglecting innovation and the creation of new experiences. In the preview session I attended, I was able to try out approximately two hours of what Pragmata has to offer at a point in its story after the Sketchbook demo available on all platforms, where I was able to see more of what this new game has to offer and delve deeper into its mechanics, which go beyond what I expected. Although other colleagues have already tried the Nintendo Switch 2 version, you can read more about it here.

Platforming and puzzles

My adventure began in the game's central hub, a base where we can upgrade Hugh, the protagonist, his arsenal and skills, as well as the hacking skills of Diana, our friendly artificial companion. To unlock these upgrades, we need various resources, some of which are more common and can be obtained by eliminating enemies, while others are hidden throughout the levels and must be sought out. Upon leaving the base, we can choose our next destination or even return to previously discovered areas and continue exploring. Each area has a percentage that indicates how much of it we have completed, so it's always a good idea to take a look at what we've left behind before moving on. However, in my test session, I could only access the new area, a futuristic-looking city where our goal is to reach the communications tower to send a message. Obviously, the path is blocked by six beacons that must be found and activated, and our preview session consisted of finding those six beacons and facing the final boss of that area.

Although at first the game gives you a rough idea of where to look, in slightly more linear environments, exploration soon depends entirely on my platforming skills and curiosity because the map is quite large and very vertical; it's not quite an open world, but the areas are quite spacious. While exploring the buildings in search of those beacons, I encountered numerous enemy ambushes, closed areas that do not open until all enemies are defeated (as in Devil May Cry), and lots of objects to find. Another important aspect of exploration is that there are numerous teleportation points to return to the base, the central hub of the game, where, as I mentioned before, we can acquire weapon upgrades and character skills. It's advisable to return to base from time-to-time to obtain upgrades and make it easier to defeat the most powerful enemies and, above all, the bosses. However, as in the Dark Souls series, returning to base and then going back to the teleportation point revives all the enemies and even reactivates the ambushes and blocked areas until we have defeated them all. It's important to choose the best time to return to base because it can be frustrating to have cleared an area of enemies and then have to fight again when you go to upgrade your character.

A different but addictive combat system

Pragmata has a very peculiar combat system. We have a main weapon with infinite ammo and throughout the game we find various additional weapons that occupy the three available weapon slots. Each slot is a different colour, and we can only equip weapons of that colour. For example, a shotgun-like weapon is the same colour as another weapon that paralyses enemies, so we have to choose whether to carry one or the other, and we can even swap them if we find the weapon lying on the ground while exploring. Once we have found a weapon, we can unlock and upgrade it at the base so that we can start the area with that weapon equipped if we want. However, we must be careful because these weapons have limited ammo, and if we run out of bullets, it may be a long time before we find more ammo or another weapon of that colour to replace the one that has no bullets.

However, it's not all about weapons and shooting: hacking is key. The enemies are incredibly resistant to our weapons, and the only way to damage them effectively is by hacking them, which is Diana's job. To do this, when you point a weapon at an enemy, a puzzle appears on the screen in which you have to move a block across a grid to the goal (a green block) by pressing the face buttons on the controller (on Nintendo Switch 2, for example, these are the A, B, X, and Y buttons). This puzzle must be solved in real-time, while enemies are approaching me and without releasing the aim button. Although it may seem complex at first, I soon got used to dodging, running, and shooting while solving the puzzle on the screen, which breaks the enemy's defences and allows me to do critical damage. These puzzles become increasingly complicated, and sometimes blocks appear that prevent you from passing, or power-ups that force you to change the fastest route in order to do more damage or stun the enemy for longer. It's a combat system that adds depth and feels fresh, but after several trips back to base to improve my skills and after dying a couple of times (you also respawn at base when you die), I found the mechanics a bit repetitive when facing the basic enemies again, although I really enjoyed the more complex enemies and the area boss.

Another marvel of the RE Engine

Although I don't want to go on too long about my impressions of the game, I must say that the version I played was on PS5 Pro and the level of detail was impressive. The crystal-clear futuristic corridors, the reflections and lighting effects, Hugh and Diana's suits... everything was beautiful and had a shiny, glossy finish, like a freshly waxed car. I was also surprised by the sound, with futuristic elements mixed with well-chosen sound effects, and in my case, very good Spanish dubbing.

It's still too early to know if Pragmata will be one of the games of the year, but I do believe it will be one of Capcom's most unique titles and one that will surprise everyone. It has left me with a very good impression and wanting more, and I am glad to see that Capcom remains open to new ideas and experiences beyond its iconic franchises.

Pragmata will be released on 17th April on PS5, Xbox Series X/S, Nintendo Switch 2, and PC. Have you tried the demo yet?

Sudden Strike 5 Gameplay Preview: A faster pace and more dynamic action

patrik@gamereactor.eu (Patrik Severin) — Fri, 13 Mar 2026 14:00:00 +0100

Tanks, infantry, artillery - the combination never gets boring in games. In the fifth instalment of the Sudden Strike series, we are back in the role of leading the superpowers during the Second World War. First of all, I have to say that it looks great, with ricochet effects that I've never seen in a game of this type before. When tank shells bounce off vehicle armour, it looks really cool. These may be minor details, but they enhance the experience of watching the spectacle on screen. Despite the graphical improvements, winning requires strategy. You need to position your troops correctly and ensure that your troop types perform the tasks you want them to accomplish. Depending on when you came into contact with the series, this has been handled in slightly different ways.

One of the first missions I got to try out required me to capture a city and drive out the Germans. The city itself was surrounded by a river with blown-up bridges. I built a makeshift pontoon bridge and was able to send my troops across. It feels good and is exciting to have these elements at your disposal. The downside is that there is no dynamism in your computer-controlled opponent. This is perhaps my biggest criticism of what I have played. It is clear that the computer follows a script and has difficulty adapting to new situations. There are no counterattacks or direct surprises; you usually know what is happening and why.

Which general and which bonuses you should have are important decisions to make before each battle.

When you take the city, the computer opponent will never counterattack or try to hinder your attack by surprising you. They sit in their defensive positions and wait for you. This allows you to surround the city, eliminate all threats and slowly push out the enemy. Despite this, I still like what I've played. Your troop types feel real, they can't withstand unlimited damage, and positioning is important. You can easily call in air strikes and purchase more troop types via an economic system we've been familiar with since the fourth game. You generate this currency during the mission, which can then be used to purchase reinforcements or air support.

I liked that I could choose a general before each mission and upgrade different abilities. This meant that I could focus on something and give myself an advantage. This could be seeing further or certain troop types being able to throw smoke grenades. It won't win every battle, but you have the opportunity to specialise your troops before combat. I think this could be a way to entice you and me to replay certain missions, try new strategies and experiment. It also means you can tailor your forces. The missions themselves are quite entertaining, even though I've only tried a few on the Allied side. One mission was about attacking and the other about defending.

It is important to keep your troops alive, and you can do this through smart positioning.

Just like in Company of Heroes, there are points on the map that you can capture. However, they do not have the same significance, and it is rarely a requirement to control all areas. They can, however, give you the opportunity to call in troops, scout the enemy, or increase the amount of points you generate. It is a good way to make me, as a player, want to send troops to these locations. I am grateful that they are based on some form of realism. A radar tower can help you scout the enemy, or a guard post by the road can open up the possibility of calling in reinforcements. These bonuses can simplify the missions a bit, which I appreciate.

However, I do think it's a bit of a shame that Kite Games is moving away from the more tactical and realistic systems that formed the basis of the original games. It's a bit strange to spend money on reinforcements, as if I were buying health potions for gold in The Elder Scrolls V: Skyrim. On the other hand, it's a proven system in modern strategy games such as European Escalation, Steel Division, Ruse, Warno, World in Conflict and Regiments. For that reason, I can forgive it, even if the currency systems feel strange. In that case, I think Graviteam Tactics: Mius-Front handles reinforcements better. Sudden Strike 5 also has a faster pace with more action than the older titles in the series. I don't have a major problem with this as I still like the setup. However, it looks a bit strange at times when tanks need to get closer to each other than before. At the same time, it becomes less of a tactical simulation and more like Company of Heroes, for better or worse.

You can also call in air strikes if you wish.

One of my biggest criticisms of the preview version was the performance. I'm not sure what's causing the problems. The game lags when tanks and soldiers are scattered around by explosions. My suspicion is that it has something to do with the physics engine. However, I am confident that Kite Games can fix this. The music, effects and graphics are flawless overall. This game both sounds and looks fantastic. It is a step up in terms of audiovisuals and visuals. I think this is positive for the series, which otherwise looks a bit dated. I still had quite a lot of fun with the gameplay, even though it is somewhat simplified.

If the variety of missions in the remaining 23 missions is as good as the ones we got to test, I think this will be a great addition to the series. Even if it doesn't quite deliver the most complex of experiences, it is entertaining. It is on this point that I think those who played the original may be a little disappointed, as it is not a return to the old but a development of the new features of the fourth instalment. However, I like several of the newer systems and the ability to upgrade troops. I like that certain areas can be conquered for bonuses. My opinion on this is that we are being offered a graphically impressive game that may fall a little short of the expectations of fans of the series. Due to technical issues and a limited number of missions to test, it is difficult to say whether this title will be a hit or a miss. However, I am hopeful and think you should keep an eye on this if you like strategy games.

Explosions, snow, troop types, vehicles and other elements look brilliant.

Darkhaven Preview: A new name carves a path in a beloved genre

patrik@gamereactor.eu (Patrik Severin) — Fri, 13 Mar 2026 11:00:00 +0100

Some of the creators behind Diablo II are back with their own action role-playing game. And I've spent some time investigating whether it's something to look forward to. Although the game is in an extremely early stage, there is a lot to appreciate in the preview version. When you start the game, you are greeted by the hooded face we saw on the cover of Diablo II, but now with a purple aesthetic. It's clear that Moonbeast Productions is inspired by its previous creations. Several of the developers at this studio created the very first and second games in the series at Blizzard Entertainment. It's a little exciting that one of their biggest competitors today is a game they helped develop. Especially considering the renewed interest Diablo II has received thanks to its new expansion.

Darkhaven begins in a ruined fort, with desolate music. You stand in the middle of the ruins and take on the role of a seemingly human character. You don't have much equipment and your character is relatively weak. For those of you who have played action role-playing games before, this probably sounds familiar. I thought so too, and immediately set out into the world. I simply wanted to start beating up monsters. The first thing I noticed was the destruction of terrain. When I struck with my axe, both the ground and buildings disappeared. I'll be honest and say that I haven't played a game in this genre with this feature before. You can dig up treasures, open up holes with monsters and even caves. You can then enter these places to loot and defeat enemies. It's much more fun than it sounds and fits the genre well. It feels good to open a path and find a hidden chamber with treasures. This also helps to make the world in this genre even more interesting. Behind every wall, there may be things to find.

The user interface is reminiscent of Diablo.

Because of how early this is in its development, I can forgive things like the user interface, fonts, and other elements not looking like they belong in the same game. I can also forgive optimisation problems and technical shortcomings. Unfortunately, the demo suffers from these types of problems. From what I've played, this looks like a prototype, an attempt to show that Moonbeast Productions has something interesting in the works. Although the tone, aesthetics, and design are somewhat reminiscent of Diablo, I think the pace is similar to Titan Quest. Things are a little slower and it doesn't feel as snappy. On the other hand, you can jump and it feels more like a full-fledged 3D game than many of its competitors. I found that, just like in Donkey Kong Bananza for Switch 2, the camera can get stuck and become awkward when you're digging and fighting underground. This is probably a problem the developers will fix, but it's something that's clear in the preview version. Of course, much of this can be overlooked at this stage of development.

The reason I like destructible environments is how the entire title is built around this. You can drain water from lakes and open up flooded ancient ruins with monsters and treasures. The environments also remember where you have fought and what is happening in the world. Destroyed things remain destroyed. If you don't like this, you can also build things in this game, which really sets it apart from titles like Path of Exile or Titan Quest II. It's not your classic Torchlight or Diablo, but something different and exciting thanks to this functionality. It's not quite on par with something like The Forest or Rust, but rather a title similar to V-Rising. It's a little unclear how much building will be included in this title. The difference between this and V-Rising is that the latter is based more on the survival aspect than Darkhaven seems to be. Darkhaven is much closer to Titan Quest, Torchlight and Diablo than that title is. You can multi-class your character in this game, which I like. You can also combine up to three skill trees, which contributes to a setup that makes your character unique. It reminds me a bit of the system in Titan Quest and its sequels.

You can upgrade your character based on three classes simultaneously.

If you are like me and have tried many action role-playing games over the years, this may be of interest to you. However, how this title turns out depends somewhat on whether their Kickstarter campaign is fully funded. I am positive about this, even though the demo version is more of a prototype than a finished experience. I also think the developers are on the right track with their approach of allowing players to build their characters based on more than one class and incorporating elements such as gems, runes and similar items with bonuses. The developers also promise that there will be major world events that shape the path you fight on. In the limited version we were able to test, there was only one such event. It unlocks when you've been following the main quests for a while, and when it sweeps across the campaign world, you immediately notice that something is wrong. It's a wave of undead sweeping across the campaign world, which in practice means more undead enemies and a world that is slowly dying. I like it because you can stop it or let it happen. The choice of how to deal with these world events is yours, and it affects your campaign in more ways than one.

If you're hungry for something different, Darkhaven might be for you. With its destructible and dynamic world, it stands out from its competitors. Thanks to great music, game design and fantastic ambient sounds, it manages to create something unique. Although the experience itself is not difficult compared to its competitors, there is a lot of potential with this setup. It is rare to see something so different in this genre. Whether or not this will become a full-fledged game remains to be seen. However, I can say with a clear conscience that I want to try the finished game. Hopefully, Moonbeast Productions will manage to deliver a different, yet familiar, entertaining and rewarding action role-playing game. It is definitely something that those who appreciate the genre need to keep an eye on.

If you don't know where to go, there is a map you can use to find things.

The variety of biomes around the world differs significantly. They can be underground tunnels, grass-covered hills and lava-filled plateaus.

Ashes of the Singularity II Gameplay Preview: Lasers, robots, tanks, oh my!

patrik@gamereactor.eu (Patrik Severin) — Wed, 11 Mar 2026 12:00:00 +0100

Thousands of tanks, vehicles and attack aircraft are moving across a dry desert landscape. They are in the process of conquering areas and then defeating a really challenging player. However, he has giant robots and laser weapons. It gives me a feeling I haven't had since I played the original and most recently Supreme Commander. It's no secret that I like the concept behind this title. I can say right away that the performance is better than in the original and it feels better to play. Just like in its predecessor, you play as one of two factions and build up massive forces. These forces are then used to defeat the enemy on gigantic maps. The longer the matches go on, the larger and more dangerous the troop types you have access to. The same applies in the second instalment. This time, however, we have a number of new features and even a completely new faction, one of which is locked in the pre-release version.

One new feature is that the maps are divided into small areas that you need to conquer before you can extract their resources and construct buildings in that area. This is, of course, a bold choice, as the predecessor was not designed that way. In Ashes of the Singularity: Escalation, you fought for points on the map, and I can still understand the change. I think that in terms of gameplay, it will create a better flow in the skirmishes. I may also be wrong, and this will create more problems than it is worth. In the demo, I got the impression that each match starts with you building a base in your zone. However, you have limited building sites, which forces you to conquer surrounding zones to extract resources and construct more buildings. This means you cannot build everything in one place, which creates new strategic choices. It also forces you out onto the battlefield and reduces the risk of you staying in one place for the entire match.

Explosions and violent clashes await.

I believe there are advantages to this new system. This includes the need to plan more in advance and utilise more of the world. There are also disadvantages, namely that you lose freedom in how you play. Something I loved about Supreme Commander and its expansion Forged Alliance was that you didn't have to think about anything like that. You could send workers and build a base wherever you wanted. On the other hand, this resulted in a rather slow pace. I suspect that the developers are trying to find a good balance in this regard and keep you, the player, busy with something to do at all times. The fact that both factions feel at least as different from each other as in the first game is a plus in my opinion. They have different backstories, buildings, strategies and troop types. It's not quite at the same level as in Starcraft, but a little more different from each other than the factions in Supreme Commander.

The two warring factions are the United Earth Forces and the Post-Human Coalition. A third faction, Substrate, will appear at launch, including a single-player campaign. I only had the opportunity to test a limited skirmish mode. This sequel feels a bit like a Supreme Commander and Supreme Commander 2 situation. There are several major changes that alter how you play. Several of these are limitations you didn't have in the first game. They have also included a technology tree. I thought it was a bit quick to get through this tree before you encountered real opponents. However, this is easy to fix if the developers and players consider this to be a problem. Even aspects such as your defensive buildings being rather weak contribute to a feeling that aggression is the right way to go. It is built for faster, quicker and more intense gameplay. I think some will appreciate this, while others may prefer the predecessor because of it.

The visuals look good.

I liked that there was a day and night cycle and that the troops felt good to move around in the world. The graphics are relatively good and it's easy to zoom in and out depending on what you need. Just like in its predecessor, the idea is that you macro-manage large armies and build bases rather than micro-manage everything in detail. This works well in the second game too. I also like the prototype weapons I've seen this time around. They look more dangerous and seem to do more damage. This was a big problem with Supreme Commander 2, where the experimental troop types were designed to die quite quickly compared to the first game. The scale is also good between simpler troop types and stronger war machines. It's clearer what's what this time around, and the graphics overall have been given a boost. Large, monstrous war machines tower over the smaller ones. The sound is also good, and you can hear the difference between the troop types, which always helps in strategy games.

I understand what Oxide Games wants to do with this sequel, and I think it could be controversial. However, I am curious to see what the final product will be like. We don't get this type of game very often, even though I love these larger and less limited real-time strategy games. It's also quite fun to paint the map with your troops and conquered areas. It's a bit like a race to paint the world in your colours. I've always found that entertaining in 4X games. If you like large battlefields, building bases and destroying your opponents with ever larger troops, this might be something for you. The factions are sufficiently different from each other, and this time we will get three at launch.

The technology tree feels a bit out of place. I would have preferred to see a better implementation directly in buildings.

However, you need to understand that it is not the same game as the first one, but something different. Whether it will be the same situation as with Dawn of War 2, which found an audience, or with Supreme Commander 2, which was criticised, remains to be seen. Nevertheless, I think it seems well thought out and competent, even if it is different and offers a number of controversial changes. One problem they need to solve is how individual players should deal with spam of a troop type to knock out your headquarters, for example, bomber aircraft. Even with reconnaissance and other measures, it can be difficult to match such numbers if you build broadly with multiple troop types in your forces. However, it is a situation where time will tell whether innovation and changes to the basic concept will succeed or not. I am hopeful, though, and thought that it worked well to some extent. I also have a nagging concern that these are too big changes to the basic concept rather than a proper development and improvement of it.

The map is excellent, and you can zoom in or out directly to ground level using your computer mouse.
Conquering the regions of the track is a piece of cake and a new feature in this sequel.

Warhounds Gameplay Preview: XCOM meets Jagged Alliance in Africa

patrik@gamereactor.eu (Patrik Severin) — Fri, 06 Mar 2026 14:00:00 +0100

If you gave me money for every tactical turn-based strategy game I've played over the years, I'd be rich today. It's a fantastic genre and often so limited in scale that it retains both depth and delivers a great experience without becoming too drawn out. There are exceptions, of course, such as XCOM, where the length is considerably longer in terms of playing time. Warhounds is an exciting attempt to let you control a mercenary force fighting for the future of Africa. A mysterious group has begun dismantling country after country and is trying to conquer the entire continent. You are sent in to rescue one of the last surviving presidents in one of the countries and fight back against this threat.

In this preview version, the choices were quite limited. I got to spend time on three distinct missions in the game's opening moments. You are flown in to help a roaring president with a machine gun, and the first two missions serve as a training mode. My first thought was that it resembled XCOM and Jagged Alliance. Unfortunately, it doesn't feel quite as good as those, but in some respects it seems to be an entertaining alternative. If you can handle terrible dialogue with strange word choices and embarrassing macho stuff, you might appreciate the gameplay. I'm not kidding when I say the dialogue is embarrassing; there were moments when I wanted to hide my head under the computer desk. The questionable voice acting, recorded at different volume levels, contributes to dialogue that is rather difficult to appreciate. Unfortunately, only a few voice actors work in this game, and even they have questionable things to say. This means that the Jagged Alliance aspect cannot really carry the game.

The grey area is an area you cannot see. Usually, the enemy cannot see you either.

However, if you appreciate tactical turn-based combat, this is quite decent. The gameplay is in place with full and half cover. You can equip your soldiers with protective vests, different types of weapons, hand grenades and much more. It was only in the third mission that we were able to test a limited amount of this. I appreciate the ability to rotate the camera, the movement system and the shooting. Just like in the modern XCOM games, you can move and shoot, shoot twice or move further. There are also abilities that allow you to both sprint and shoot. In this regard, I think Warhounds works well. Unfortunately, I can't really say the same about the computer opposition in this test version. The opponents often made rather clumsy decisions, putting themselves in danger, and it wasn't difficult to defeat them.

I assume that they will be strengthened by more protective vests, better weapons, and abilities. At the same time, I can already warn that the computer opponents have difficulty playing the game properly. You often end up in a superior position and can quickly destroy the opposition. It's a little early to criticise this too harshly, as we've only tested the initial levels. It is also unclear what difference the difficulty levels will make to the experience. The battles themselves are only one aspect of the title. There is also a mode involving base building, recruitment and money management. It remains to be seen whether the whole package will be good, and I believe that this will make or break the title. From what I have tested so far, it is not a promising game. It feels old and like something that competitors have already done better. At the same time, it may result in an interesting title that is heavily inspired by what came before and does not do anything completely new. Sometimes more of the same can work excellently, and that is exactly what I am curious about with Warhounds.

The boat is your hub and your base. It is where you construct buildings, recruit soldiers, and prepare for your missions.

I am very curious about how the base on board the ship will interact with the rest of the game. How will you earn money and how will it all work together? We do not yet know how many of the missions are generic and how many are custom-made. The story itself builds solely on the premise of these three missions. However, it should be said that everything felt familiar. There was nothing that really stood out about the title except for its setting. Africa is a continent that is rarely used in computer games, which I think is a bit of a shame. My favourite in the Far Cry series is probably still the second one, thanks to the setting, the story and the cool gameplay elements that the series has not reused in the same way since then.

Although I had issues with the voice acting and the written dialogue, the music is fitting. The weapons also sound good, and from the little I've been able to use, the selection feels varied nonetheless. The graphics don't offer a game you'll praise for its visuals, but it looks perfectly acceptable despite some strange facial animations. Technically, it is somewhat dated in terms of effects and environmental destruction. However, I don't think it's unplayable, and at times it looks good. Unfortunately, beautiful images are replaced by hideous animations and low-resolution textures. However, I would like to point out that I have seen both worse and better examples in the genre. A typical example in this game is its cutscenes. These can look completely crazy due to the camera angle. In one of the buildings, I encountered a new type of enemy with a knife. This villain had his face covered with a low-resolution towel throughout the entire sequence. There are many things like this that detract from the overall experience.

Sometimes the angle is wrong. This villain is covered with a towel and is trying to look scary.

Warhounds is a game about money and mercenaries in an XCOM setting. The characters talk a bit like in Jagged Alliance, and more than once I wished they would just be quiet. On the other hand, I liked throwing hand grenades, hitting that hard-to-hit enemy, and flanking the right way. The environments also feature houses, rooftops, and much more, allowing for free movement and many strategies. Unfortunately, I felt that the computer opposition didn't really take advantage of this in the free missions. In the training levels, they follow certain instructions from the developers so that you can learn the basics. This means that it's difficult to say anything about them. I am cautiously optimistic about this title. However, even in the pre-release test, there are obvious problems that I am not sure Everplay DMCC can fix before the full launch. If you are interested in XCOM and Jagged Alliance, this title may be worth keeping an eye on. However, it does not seem to be a title that will surpass these classics, but rather offer more of the same. From what I have tested, I am afraid that it will be no more than a mediocre or borderline good experience. However, I would love to be proven wrong, as I like this type of game.

When you're on your way to a mission, you'll get a briefing on what to do, just like in Firaxis' modern XCOM.

Battleplan Gameplay Preview: A new player joins the theatre of war

patrik@gamereactor.eu (Patrik Severin) — Fri, 06 Mar 2026 12:00:00 +0100

Do you like the concept behind Hearts of Iron but find it a little too difficult? Then Battleplan might be the game for you. This week, I had the opportunity to test an extended version of this title, and just like many other titles in the genre, it is set during World War II. Gone is all the micro-management, diplomacy and industrial capacity building. You create and structure your forces as one of several warring factions. In the version I tested, I got to choose the Allies. Unfortunately, the other factions were not available this time. It was after I chose sides that I realised this was a different experience. What is unique about this title is that it further develops the concept of drawing battle lines and commanding your troops from Hearts of Iron IV. In Battleplan, you receive your mission from your superiors and, as a general, you must ensure that your troops are able to carry it out.

Your game world is a board with a map of an area you are to fight over. It could be in England, Europe or North Africa. You build your troops using troop types, headquarters and other elements. These are then placed in larger groups and linked together by drawing lines between their cards in a menu. It can be beneficial to link a headquarters with your troops so that they can more easily obtain supplies, bonuses, and other items. It is somewhat reminiscent of the hierarchy system in Hearts of Iron, but is considerably simpler here. The demo provided me with ready-made templates, and the training mode explains how to proceed if you are uncertain. Once this is done and you have not exceeded the weight limits for your force, these troop types are placed in the game world. You can then take control and start doing what the title is mainly about: winning wars.

Organising the troops and deciding who leads is simple and intuitive.

Since you are not an incompetent officer or sergeant, you do not need to bother meeting with your troops. You use a brush tool to intuitively draw where the front line should be. Choose which types of troops to send there, and then decide what the troops should do. Whether they should attack a city, fortify an important point or quickly occupy a city, it is easy to decide exactly that. Each individual mission you create places a marker on the clock. The marker tells you how much time this will take. It is perfectly possible to add several at a time, but you need to be aware that several of the troop types do not attack at night. For this reason, you must plan your operations based on the clock. For example, how long an artillery attack followed by a swift tank attack will take. This ensures that your attacks are synchronised and you get the best possible results.

I found Battleplans to be intuitively easy to learn and well suited for new players of the genre. This is because it is more of an arcade game than an in-depth simulator. There are also elements of simulation, statistics and other features that you can use to your advantage. I found Battplan to be a bit like Theme Hospital is to Project Hospital, or Simstad is to Simcity 4. It is not the deepest, most complex or most difficult, but it is well made, fun and entertaining. It stands on its own two feet and offers an interesting setup. You only need to focus on one thing, and that is your soldiers and troop types. In that respect, it is more reminiscent of Warno without offering the same tactical and strategic depth.

You draw directly on the game world and create orders for your troops.

I am quite hopeful that this could be a really good game. Foolish Mortals Games has a winning concept with this title. If they can just polish up the AI opponents a little, I think this could be one of Slitherine's better beginner-friendly titles. It quickly becomes apparent that they are not targeting veterans of the genre. The importance of generals and bonuses is easy to understand, and how to apply them is fairly straightforward. Regardless of which generals you buy or use to lead your forces (they are the ones who give bonuses via headquarters), there is a use for them. The game is good at explaining what the things you do mean. I'm eager to try out the larger battles so that I can really dive in. I've always liked the more macro-intensive and operational side of war strategy games, so if you're like me, this might be worth trying out.

If you're interested, there's a demo you can try via Steam. It's not quite as packed with content as my preview version, but you'll get a good idea of what this has to offer. It's not just the gameplay that's top notch. The voice acting is good, and both the music and graphics do their job without getting in the way. The user interface is clean, making it easy to build your troops. You are never overwhelmed with information and can wage war and give orders to your troops at your own pace. Although the tempo is relatively high as the game takes place in real time, you can pause, slow down and speed up the action. This leads me to conclude that I have very little criticisms for this title thus far.

All the troops at my disposal had a small, well-written encyclopaedia about themselves.

My main criticism right now is that the computer opposition is a bit flat. I think small adjustments to how it behaves could help make the game more of a challenge. At the same time, I have to point out that what I tested was early in the campaign. This means that the battles weren't particularly big and that the computer held back. In training mode, the computer opponent does not attack you at all. That said, it will be really exciting to test the full version of the game. I have not yet seen how the Axis powers play, and I have not tested all types of troops. It will also be exciting to see if the computer opponents can challenge me as a player on larger battlefields.

If you are interested in an easy-to-play war strategy game that borrows ideas from Hearts of Iron IV and stands on its own two feet, this is something you should check out. My time with this game has been positive throughout, and although I appreciate difficult titles in the genre, this is a fine example of something lighter that still manages to interest me. If the full version is equally impressive overall, it could be one of the better titles of the year in its genre. I will definitely be keeping an eye on this, and I think you should too. Especially if you don't mind a slightly simpler setup and difficulty level.

The assignments are presented with voice acting and information about what you are expected to do. At the end of the assignment, you will also receive a summary and a grade.

Diablo IV Preview: Lord of Hatred's Warlock might be our new favourite class

ben@gamereactor.eu (Ben Lyons) — Thu, 05 Mar 2026 21:00:00 +0100

It's been a really busy start to the year for Blizzard Entertainment, who in a space of just four months, will have essentially rebooted Overwatch, launched the first major content update for Diablo II in 25 years, debuted a sweeping expansion for Hearthstone, launched Housing and the Midnight expansion in World of Warcraft, and also, by the time April ends, delivered Diablo IV's second expansion known as Lord of Hatred. So yes, busy is perhaps underselling it.

If you have been following Gamereactor throughout February, you'll be aware that we've been keeping close ties on all things Blizzard, partly down to our recent visit to the massive developer's Irvine campus just outside of Los Angeles at the end of January. Through this, we've shared tons of impressions and thoughts on Overwatch, Diablo II: Resurrected, Hearthstone, World of Warcraft, and now the time has come for Diablo IV to join the fray. Albeit with a catch...

You see, I've played Diablo IV: Lord of Hatred in one manner of speaking but then also not had a chance to touch it in another. A tad confusing? Understandable. I've been hands-on with the Warlock class, which technically fully launches alongside the Paladin with the arrival of Lord of Hatred, even if you can access the latter class today by pre-ordering the expansion. The issue is that the hands-on experience with the Warlock didn't actually allow me to travel around the new area of Skovos at all, hence why this is a very peculiar preview as I can talk a fair bit about the Warlock but not really at all about Lord of Hatred. With limited talking points, let's keep this a tad briefer than usual.

As you can see in the gameplay that we captured above, with action happening in Vessel of Hatred's Nahantu region, the Warlock is an absolute power-fantasy class, a formidable option that will appease players of all kinds. It's described as Diablo's most "heavy metal" class to date and you can see that in the setup and structure of the class and how it's designed to dive head-first into combat and to leave nothing but blood and bones in its wake.

There are a handful of key class archetypes to follow with the Warlock that sees it massively play differently. I found myself trending towards the Legion option, a class-type that is all about summoning demonic legions and using your army of thralls to cut through anything that Hell throws at you. In a way, it's similar to the Necromancer but with an added caveat that you don't need corpses to reanimate to make Legion work, you can simply summon demons from beyond and force them to enact your will.

The other options include Vanguard, which is more of a fast-pace option, an archetype that is all about riding a hellhound into battle and then turning into a demon yourself to turn Hell's wrath against it. Is it perhaps a tad hypocritical to resort to the darkness to win this war? Perhaps. But that doesn't detract from its entertainment value. The same can somewhat be said about Ritualist, an archetype that revolves around using demonic energy to unleash hellfire and abyss on those that stand in your way. If Legion is Necromancer-like and Vanguard is more Barbarian, then Ritualist is the Sorcerer alternative that is all about using spells to unleash chaos on the battlefield. Finally, we have Mastermind, which is in a way similar to the Legion archetype and the Necromancer class, as it's all about binding demons to your will and then having them fight your battles while you oversee the destruction from the safety of the abyss.

As you can see, regardless of the gameplay style you choose, the Warlock is looking to offer immense variety and from what I've experienced at least, excellent potential that will make this class an absolute force of nature capable of going toe-to-toe with Mephisto in an effort of saving Sanctuary from complete and utter devastation.

Beyond this, while the Diablo IV Developer Update has shared more information about what to expect from Lord of Hatred and Skovos as a region, I can't comment on how it plays and functions as I didn't get to see any of this in action. What I can briefly touch upon are some of the wider updates and changes to Diablo IV as a whole, including the restructuring of the skill tree.

Essentially, the skill tree has been simplified and refined, so instead of popping multiple points into one perk to improve it time-and-time-again, you now only spend one skill point per perk option. There's still an element of improving a core perk by spending more points in its respective branch, but now there are more options to select, which should make buildcrafting all the more interesting in the long haul. Blizzard promises more than 40 reworked choices, over 80 additional options, and 20+ additional skills, meaning it could feel like an entire reboot of the feature and something for players to learn almost from scratch again.

The skill tree adjustment is also coming in-line with built-in loot filters to more easily find the gear you need, the Horadric Cube crafting tool to make unique items that better fit your style of play, and the Talisman to add further buildcrafting by re-introducing the Charms mechanic that adds extra bonuses to your build. These should all make Diablo IV buildcrafting less rigid and also perhaps a tad more intuitive to crack for newer and less experienced players, so a win-win in many respects.

Left: Skill tree changes. Right: New loot filter.
Left: Talisman. Centre: War Plans. Right: Horadric Cube

Beyond this, Lord of Hatred will add further streamlined endgame elements like the playlist feature known as War Plans and a very challenging, almost pinnacle endgame activity called Echoing Hatred. Matching this up with the rather stunning land of Skovos and the sprawling capital city of Temis, locations that are untouched by the darkness as of yet, even if this will change as the story expands, Lord of Hatred is looking to be a great next chapter of Diablo IV and a fine endpoint for this portion of the wider narrative that began with the base game's story. But is it actually any good? Again, I can't add anything on this topic as of yet, even if you can see a bunch of images of Skovos below.

What we do know is that Lord of Hatred launches on PC, PlayStation, and Xbox on April 28, so stay tuned for more.

Mouse: P.I. For Hire Preview: Much more than just your basic cheddar cheese

ben@gamereactor.eu (Ben Lyons) — Thu, 05 Mar 2026 18:00:00 +0100

I have been an admirer of Mouse: P.I. For Hire ever since I first laid eyes upon the game. An action-oriented shooter with noir visuals and a rubber hose animation style set in a world of smart-talking and well-dressed rodents. What isn't to love? It's been a bit of a turbulent adoration all the same as the game has been delayed on multiple occasions, including most recently pushing it out of March and into April, but the benefit to these launch changes is that each time we see more of Mouse: P.I. For Hire, it seems to look more and more impressive.

Cut to today and I can finally tell you about my experience actually playing this promising project. I've had the luxury to sit down and work my way through a portion of the gameplay as part of a preview build that included one full level of action and also a taste of the wider world, which might somewhat surprise you with how it's all stitched together. I'll get to the overworld, investigative case structuring, NPC interaction, and all that jazz in a moment, as first let me hone in on what started this preview build: a full playthrough of the Bandel's Laboratory level.

In the gameplay above, you can see much of what I experienced during this level, which ultimately came across exactly as I was expecting (and was hoping). It's an action title with boomer shooter-like elements, where you use a variety of quirky weapons to blast past a collection of enemies while using smooth omni-directional movement to get around. Essentially, imagine Doom if it traded gruesome demons and a hellish landscape for rodent cultists made to look like a 1930's cartoon.

As the protagonist of Jack Pepper, you move through the linear level, fending off enemies using a pistol, Tommy gun, shotgun, fisticuffs, throwable dynamite, and even eventually the Turpentine acid-spraying weapon that will literally melt the flesh right off the bones of those unlucky enough to be hit by it. Again, in a Doom-like manner, you cruise around the levels and pick up ammo crates dotted around to ensure you're chock-full with resources and then you get locked in combat encounters where you have to eliminate melee-wielding threats, ranged combatants, even mini-bosses to be able to advance further.

The combat and movement is also snappy and responsive and plays quickly, allowing you to zoom through a level as fast as you can manage, or instead to slow things down and hunt for secrets and other goodies that can be hidden, sometimes even behind an inconspicuously put together and structurally-suspicious wall. We're not talking huge secrets, but rather caches of money (one of the main currencies) or blueprints that can be used to unlock weapon upgrades, with some of these even securely stored in a locked safe that you have to unlock with a mini-game that's somewhat reminiscent of Snake.

This core gameplay portion is pretty much what I was expecting from Mouse: P.I. For Hire judging by previous trailers for the game. It works truly well and smoothly, with fulfilling combat brought to life with an art direction that is memorable and charismatic to say the least. In a similar vein to Cuphead, another rubber hose-animated game, the levels don't come across as particularly long either, with one perhaps requiring 15-30 minutes of your time, depending on how much you want to hunt for secrets and lore titbits dotted around. But what the levels are not is non-linear, at least from this one experience. There is a clear and core path to follow, a way to go from the start to the end, and while there are obstacles in the way on that route, including electrified gates that must be switched off at the source, you won't be faced with any headscratchers making you baffled as to what to do next.

Side note, before touching on the rest of the short preview, it's worth knowing that Mouse: P.I. For Hire has built-in visual and sound filters that allow you to enhance how authentically rubber hose the game feels. You can crank up the visual filters so it adds more of a grainy nature, have the audio sound like it's playing on vinyl, it's up to you and how much of a 1930s-like experience you want.

Anyone, back to the gameplay. After you come to the end of the level, you aren't just transported elsewhere to continue ploughing through action-packed levels. No, you must return to your P.I. office and go over the new evidence you've collated about this specific case. This means taking to a Cuphead-like overworld where you drive Jack Pepper's car around a lovely and lively top-down world until you make it back to the centre of town, where you are once again put into the Pepper's shoes in first-person. Here, you can wander around a more open-level where you can visit the local bar and ask NPCs for leads and information, can relay updates to the local press, upgrade your weapons at a workshop, and judging by what we could see during our traipsing around, visit a gunsmith to buy new weapons and pick up extra cases by interacting with flyers and such. This part of the wider Mouseburg is effectively the hub location where much of the narrative wheels are greased, if you will, and it's also the place where Pepper's office is located and his corkboard can be found.

In a manner a bit like Alan Wake 2's case board that helps Saga Anderson pull together the wider mystery, Pepper's corkboard is a place to stitch up any gathered evidence and start figuring out how it all comes together. The premise of Mouse: P.I. For Hire is to solve different missing persons cases and with lots of loose and overlapping ends, so having a place where you can collate the information into one cohesive whole is handy. What isn't clear from what I've seen is how much will be required from the player to solve each case. Will you need to piece evidence together to reach a conclusion and outline a suspect or will the game naturally do that once you stick the evidence on the corkboard? This is unclear, but there are voiced dialogue interactions with certain characters where you can ask questions in a branching dialogue-like manner to learn more about the situation at hand.

So long story short, Mouse: P.I. For Hire seems to be more than just some run of the mill cheddar cheese. There are layers and depth to this game that you may not have expected previously and ultimately it seems like developer Fumi Games is on track to delivering something special, fun, and very memorable when the game launches on PC and consoles on April 16.

Tides of Tomorrow Preview: A multiplayer/single-player game like you've never seen before

claus@gamereactor.eu (Claus Larsen) — Wed, 04 Mar 2026 14:00:00 +0100

You should listen to the truth from children and drunk people - do you know that expression? Back then, Discovery Channel and Animal Planet actually broadcast documentaries, not reality TV that could rot your brain. I once saw a programme about the Stone Age, the Bronze Age and the Iron Age, and I was deeply fascinated. Not so much by the history itself, but by the idea that eras were defined by the material used to make tools.

So I turned to my mother and said that if it was the Bronze Age and the Iron Age, then we must be living in the Plastic Age. Brilliant.

It made perfect sense in my little head. Plastic was everywhere. In the kitchen. In toys. In packaging. In nature. And it still is. In fact, to such an extent that we are now talking about microplastics in fish, in the sea and in ourselves. It's not exactly uplifting when you think about it for more than a moment.

That's why Tides of Tomorrow struck a chord with me right away. The game takes the plastic age and asks what will happen if we don't stop. What if the oceans rise? What if plastic doesn't just float around, but becomes the very foundation of civilisation? What if we don't just live with the waste, but on top of it?

The result is a world where humanity clings to life on small islands built from rubbish, metal and the remains of the world we ourselves have destroyed. Old oil rigs rise up like monuments to our former lives, and the sea has become a plastic ocean that is both beautiful and repulsive at the same time. It's a cool premise, and it works because it doesn't feel completely unrealistic. Tides of Tomorrow was developed by DigixArt and published by THQ Nordic, and I got to play a good chunk of it. DigixArt is also behind Road 96, and you can clearly sense that they have a penchant for narrative experimentation and choices that actually matter. The game starts with you being fished out of the sea by a character named Eyla, and you have apparently been under the sea for decades. It's the kind of opening where you have to accept the premise before you fully understand the consequences. The world has changed, and plastic is not just waste, but something that has found its way into the human body, so everyone is slowly dying.

The only way to postpone your fate is to constantly inhale a substance called ozone, and if you don't get it, you gradually start to turn into plastic. It could easily have been a slightly too thick metaphor, but because it is treated seriously in the game's universe, it actually works, and I found myself thinking several times that it is a rather direct and rather courageous way to take the climate debate and make it physical. In terms of gameplay, Tides of Tomorrow is at its core a narrative adventure game. You talk to characters, collect scraps that serve as currency, constantly search for ozone to stay alive, and make choices that affect both your own survival and the people you meet along the way. It's not new in its structure, but it's solid and feels well thought out.

However, it all revolves around the Tidewalker system, and this is where the game really begins to stand out. When you start, you choose another player to follow, and it can be a random player, a friend or, in principle, a streamer, which the developers themselves encourage. At first, I thought it sounded like a smart idea on paper, but the longer I played, the more I began to feel that it actually changes your experience.

That player becomes your precursor, and their choices are already imprinted on your world. If they have ignored a character, you can sense it in the dialogue. If they have helped, it can open up other possibilities. And you inevitably start to wonder who the person you are following really is. Are they cynical? Are they empathetic? Are they just curious and trying things out? It's a strange feeling to have a kind of relationship with a player you've never met, but who nevertheless influences your world.

There are also moments when, through small cracks in reality, you can see traces of the precursor's future, such as a password or a solution you haven't yet figured out yourself. It could feel like a shortcut, but because it's part of the game's basic idea that we move in each other's tides, it becomes more a part of the logic of the universe than a trick.

When you sail out onto the plastic sea, it becomes even clearer. The tracks of four other players appear in the area, and if you find one of their routes, you can follow it to a new island, a treasure or a conflict. This creates a chain reaction where you are indirectly entangled in other people's stories without playing directly together. It's quite fascinating to think about, and I actually like the idea, even though it also has something slightly unsettling about it.
There are also ship battles, confrontations and a lot of exploration, and the world feels threatening, but at the same time alive. Amidst all the plastic and decay, there are still people trying to do the right thing, and that's perhaps what I like best about Tides of Tomorrow. That it's not just about doom, but also about relationships and responsibility.

I'm not usually the type to throw around big words about games that set new standards, and I can't stand how expressions like "souls-like" are used for everything. But Tides of Tomorrow has an originality that actually feels real, and not just like a marketing buzzword.

The game will be released on 22 April, and I am genuinely curious to see how far DigixArt dares to go with their idea in the full version. There is something here that feels different, and if it succeeds, it could be more than just another narrative adventure.

I'm keeping my fingers crossed. And yes. I'm going to go and sort my rubbish afterwards. Just to be on the safe side.

First impressions with Denshattack!: A crazy and demanding arcade game that refreshes the genre

alberto@gamereactor.eu (Alberto Garrido) — Wed, 04 Mar 2026 12:00:00 +0100

There is little room at the forefront of video games for single-player experiences. Nowadays, with all the attention (and budgets) of large companies invested in increasingly generic and impersonal game-as-a-service offerings, the only way for players to find something more "classic" is to look among independent developers. Fortunately, we now have more small creative teams at work than ever before. And from there, of course, come such unlikely and wonderful things as Denshattck!

Undercoders is a small Spanish studio with a long history. Among its most recent and well-known works are Treasures of the Aegean and Koa and the Five Pirates of Mara. In the latter, there was already a certain tendency towards fast-paced platforms and accurate character control, which has somehow evolved, picked up speed and finally become a strange train arcade game with a lot of similarities to Tony Hawk's games and the legacy of the Olli Olli series, from the now defunct Roll7.

In a dystopian but near future, Japan is ravaged by a catastrophe that has forced the surviving population to take refuge in isolated sphere cities throughout the country. The only way to communicate with each other is through the bullet train or Shinkansen railway system, and even then it is not an easy journey: cut, destroyed or simply impassable tracks mean that the world is placing its hopes in the best train drivers, the Denshattakers. And that's where we come in, as a young delivery girl who suddenly finds herself competing to become the best train driver in the country.

With this premise worthy of an anime series, we take the controls and get on the tracks, and what we immediately notice, besides the fact that Denshattack! is very fast, is that it is very precise. The controls are very fine and respond with pinpoint accuracy, which is the first barrier to overcome. In addition to learning how to take corners (with a drift similar to Mario Kart), you'll also have to jump over tracks and perform stunts worthy of a professional skater, while changing surfaces, flying over forests and buildings, and praying that you don't crash into something at 500 km/h. But you're going to do it a lot. It may seem confusing at first, but even I, who have very little experience with this type of game, was able to get the hang of it and reach the finish line, although I'll leave the time trial for when the final version comes out on 17 June.

Because by then, I'll have to have mastered how to do ollies, kickflips and 720º turns with a 50-tonne train in the air while crossing a waterfall that runs between the ruins of two skyscrapers. In addition to the obvious driving skills required by Denshattack, the other main point on which the tracks of this spectacular game run is its wonderful artwork. In addition to the attention to detail in the customisable train itself and the backgrounds and settings of modern-day Japan, full of advertisements, neon lights and colourful posters, the aesthetics of Denshattack are reminiscent of an anime series. As such, you'll see words or onomatopoeic sounds written in kanji characters when you brake, skid or pick up speed as you pass through power-ups, which are as colourful as the background. And even though it all happens in a fraction of a second, the music, the colours, the speed and the sparks from the rails all come together to create something truly special.

As I said at the beginning, it's not easy to break into single-player experiences, and arcade titles are not as popular as they once were, but I hope and trust that everyone, even those who never got on a board with Tony Hawk Pro Skater or Olli Olli World, will give Denshattack! a try, in what may be one of the freshest and most appealing experiences this summer has to offer.

Rockbeasts Preview: Bojack Horseman meets Nirvana

joel@gamereactor.eu (Joel Pettersson) — Tue, 03 Mar 2026 09:00:00 +0100

Rockbeasts (or RÖCKBEASTS in capital letters with an umlaut over the O, as it's actually called) is a rock & roll management game with RPG elements that puts you in the role of a newly graduated manager of a garage band consisting of anthropomorphic animals. Think Bojack Horseman meets Nirvana in a hand-drawn, adult animated world. You take care of a group of ego-driven, rowdy band members who start from scratch in an alternative 90s USA characterised by grunge, MTV, and the ruthless realities of the music industry. Your tasks include booking gigs, negotiating venues, managing resources, repairing equipment, creating setlists, and making difficult choices that affect the band's career and internal relationships.

Don't miss: You can learn much more about Rockbeasts with our exclusive interview with the devs

The story is a dark comedy-drama written by Jakub Szamałek, who previously contributed to The Witcher 3: Wild Hunt and Cyberpunk 2077, with voices from, among others, veteran Baldur's Gate 3 actors and rock icon Iggy Pop as a dog radio host. You lead the band from small bars and rehearsal rooms to larger arenas, while navigating venues and their often rowdy/colourful owners, record label executives, and the members' personal demons. Each member has unique traits that affect the dynamics; think of a bassist who is a lovely Canadian but in debt, a drummer who lives only for drums and alcohol, or a guitarist whose ego has its own gravity, all while your decisions shape relationships, reputation, and the final outcome. The game features over 100 voice-acted characters and 90 locations ranging from Nashville to Denver.

You can name the band yourself. I chose 'Conny-Martinz', of course.

The gameplay focuses on band management: balancing resources such as food and equipment, planning rehearsals for morale, setlists based on individual strengths, and rhythm-based concerts where you control performances in real-time to influence audience, revenue, and reputation. It mixes management, RPG choices, and mini-games, with 17 original tracks in an alternative rock style. The aesthetics are hand-drawn in a slightly gritty 90s vibe, including locations such as record shops, radio stations, and street scenes in a style inspired by animated series, with BoJack Horseman appearing to be the most obvious source of inspiration. The environments capture the chaos with posters, roadies, and backstage intrigue, while the soundtrack reinforces the classic Seattle sound.

I've played a couple of hours of the game and... I actually think this could turn out to be a very enjoyable game in the end. What I was lucky enough to experience is a fairly early build that is far from finished but shows the potential that is there. However, I did encounter some parts that didn't look particularly polished, and I also got "soft locked" towards the end of the version I played. Developer Lichthund has some work to do before the game is ready for release, but good things come to those who wait, and in this case, I hope we get to wait a little longer. Rockbeasts is currently a diamond in the rough, and it would be a shame if they didn't take the time needed to polish it properly.

It's a charming game, but it needs a little extra polish here and there.

This is an ambitious mix of gameplay elements and genres. I like the role-playing part where you get to know the band and upgrade both them and their equipment. It feels solid, and the way it's presented is the icing on the cake. It was also surprisingly fun to play the songs during the band's gigs, something that's done in a greatly simplified Guitar Hero mini-game, where I would have preferred to use a controller rather than the WASD and space bar. Hopefully, they'll fix that in the future. In addition to the rhythm concerts, there are quests based on moral dilemmas, such as negotiating with greedy record companies or dealing with internal conflicts, and everything is woven together into a narrative that feels promising despite the early and unfinished version I played.

We don't have an exact release date for Rockbeasts yet, but it's planned for 2026, and I hope it's not too close on the calendar. This game needs time and love, because - as I said - this could be something really special. Once it's released, it will be available on PC via Steam, PS5, Xbox Series X/S, and Nintendo Switch.

Memorable characters and mini-games.

Marathon's Server Slam: First impressions of Bungie's latest FPS

magnus@gamereactor.eu (Magnus Groth-Andersen) — Fri, 27 Feb 2026 13:00:00 +0100

Let's start by stating that Marathon's overall appearance, auditory profile, and artistic direction clearly divide players quite directly. Indeed, it almost splits game consumers into two very distinct groups. If you don't like the way Marathon looks, there's so much of it that it's hard to ignore, regardless of how you feel about the game's other aspects.

But for me personally, subjectively speaking? I love it. My colleague Lasse and I have spent the last half day playing almost non-stop, and several times we've said to each other that we simply want to devour Marathon. Bold colours, intentional use of strong contrasting colours, pulsating electronic soundtrack by Son Lux, a decidedly elegant, seamless aesthetic profile that runs like a stream through the user interface, environment design and character models, this game is so BEAUTIFUL!

But of course, that's not all it is. It's also a hugely challenging, hardcore, and finely tuned extraction shooter that really takes no prisoners, and as a kind of run-up to our final review, which won't be out until after launch, we're bringing you some first impressions from the game's so-called "Server Slam".

Structurally, Marathon is pretty much what you'd expect, especially if you've recently played ARC Raiders. You choose a predefined character class, or "Shell", load into a larger map with two other players on your team, and then it's all about finding some useful loot, completing a contract, maybe poking a little at hostile robot NPCs, and then escaping before you die and lose everything you've collected. It sounds simplistic, and it undoubtedly is, but that's the immediate goal, just like in any other extraction shooter.

Beforehand, you can equip a bunch of gear from your personal Vault, gear that you also sacrifice if you die, which makes your Shell more resilient. Two weapons, a shield, grenades, various modifications, a little bit of everything that can differentiate you on the battlefield and, of course, to some extent, make it either easier or harder to face enemies once you land on Tau Ceti IV. The planet itself is divided into distinct maps, three of which are available now, with a final one intended as a much more hardcore end-game zone, arriving later in March.

But Marathon is already quite hardcore, to say the least, and this is reflected in a number of intended, and perhaps unintended, gameplay measures. First and foremost, the TTK is relatively low at the time of writing, which means that for the most part, it's the team with the element of surprise that has the biggest strategic advantage. It might be advantageous in the long run to increase the amount of HP a little, as you simply get hit so hard and fast in these firefights, but it may also be that this is simply the idea behind Bungie's PvP balancing.

As you fire these weapons, move around, and use the game's physics, it becomes clear how skilled Bungie is at this kind of close-quarters gameplay. Weight, responsiveness, sound when firing, semi-unique reload animations, vaulting and general movement, Marathon feels masterful to play, even though these fantastic moments are often followed by an insta-kill from a player you barely had time to see before they shot you down.

Server Slam has been live for less than a day, and already you can sense how this game is going to get "sweaty" as we move closer to launch. The combination of rather sophisticated AI enemies, a "shield"-centred HP image, and lots of character abilities means that encounters with other teams are over relatively quickly, as there are few elements left to chance or external circumstances. A lesser team can, for example, catch a better team in PlayerUnknown's Battlegrounds by positioning themselves advantageously in relation to the circle. Here, shootouts unfold quickly and brutally, and I found myself swallowing a good dose of frustration several times after losing all my gear for the 14th time.

In Marathon, every piece of loot, at least for me, is "hard fought", and every credit is "hard spent", because even though you have the option to load in with a free kit, you are clearly so far behind other, superior teams that direct confrontation becomes almost impossible. For me, at least. Maybe not for you. Because you're good, right?

There's a free kit, and you also get small benefits by completing these pretty cool contracts, which, incidentally, are sprinkled with a little narrative spice in the form of... well, maybe we shouldn't call them cutscenes, but exchanges with the AI characters who manage the commercial interests that use you and other Runners to explore Tau Ceti. That's why it's never impossible to play, and it's technically possible to load in solely for the purpose of grabbing some loot and then escaping, although this is a lot harder than in ARC Raiders.

Right now, my main complaint is actually this loot. These weapons are incredibly cool, and there aren't 19,000 different ridiculous loot categories like in ARC Raiders (although there are still a few too many types), but the positioning and telegraphing of this gear is simply too obscure. Many buildings are just full of junk, and loot can only be found in these rather boring, anonymous, and indistinct folders, boxes, and bags. It becomes a chore to actually look for a cool new weapon or a Shield upgrade because they are both drowned out by all the junk you fill your bag with far too quickly, while at the same time it's simply too cumbersome to decipher where all this stuff actually is.

Loot clarity is undoubtedly Bungie's biggest challenge right now, because it needs to be made clearer, it needs to be streamlined, because the promise of loot is the primary reason you feel tempted to go on "one more run", and this temptation is greatly weakened by the expectation that you won't find the cool stuff, even though you know it must be nearby, even though you've searched everywhere.

That said, I really want to get really good at Marathon, because through its mesmerising visuals, its fantastic music, its striking, hardcore gameplay loop, and its story, I'm really ready to love it. However, I'm unsure whether this strong sense of belonging can be established, because Marathon really seems to be for the few who remain when all the "filthy casuals" have moved on. It's brutal in a way that ARC Raiders, for example, is not, and it's still unclear whether this will be a strength or a weakness for me personally.

The Eternal Life of Goldman Preview: A platformer you really shouldn't miss out on

claus@gamereactor.eu (Claus Larsen) — Thu, 26 Feb 2026 17:00:00 +0100

I love cartoons. I remember when my uncle looked after me and I had free access to his VHS tapes, some of which were absolute gems. For example, he had recorded a lot of old cartoons, my favourite being the ever-selfish Tom's battle against Jerry. I loved the beautiful lines and personality of these old films. I still have that love, but mostly when I encounter games that possess the same qualities. I found that in The Eternal Life of Goldman, which is magical in its expression and also a quite capable platform game, developed by Weappy Studio and published by THQ Nordic. I got access to the demo, which can be played on Steam now, a little before the rest of you, and here are my experiences.

The Eternal Life of Goldman is about the elderly gentleman Goldman, whom I very quickly came to associate with Uncle Scrooge from Duck Tales, as he is an old man with a cane. This cane can be used for many things, the most important thing is probably that if you jump and press a button, you can use it as a weapon, Shovel Knight-style (and Duck Tales), as the way you damage enemies is by jumping on top of them with the cane. So, you just have to jump on many of the ordinary creatures and then do that kangaroo-like movement down on the heads of the creatures you meet along the way.

The cool thing is that the cane can be expanded with other functions. The cane is divided into three parts; The top part has a handle that can be used, among other things, to hang onto rings around the levels. For example, there are sections where you have to use it to get past sharp obstacles by hanging onto balloons that float back and forth. If you choose a different function, you can use the cane to cause damage, and the middle part can also be replaced, so you can choose between different variants that either don't jump as high but can be used for certain puzzles in the game, or a metal version that gets you higher up but can't be used for the same tasks. The last part of the stick can also be used in different ways but I think you're starting to understand what the gameplay loop is all about. It's quite reminiscent of the aforementioned Duck Tales experiences on the older Nintendo platforms back in the 80s and 90s, and also a bit like Shovel Knight, where it's a shovel and not a stick that you jump around with in this way. I'm sure there will be many more opportunities to expand the stick in the full version of The Eternal Life of Goldman, but I only had access to about an hour and a half of the game.

I died a lot in the beginning because I had to get used to it, but I got the hang of it pretty quickly. When you chain several jumps together and combine it with the enemies' movements, and jump around like a happy flea, it actually feels perfect.

And the surroundings you jump around in are super cool. The story in The Eternal Life of Goldman is told by a mother to her child. I'm not entirely sure of the gender, but it doesn't really matter. She tells about the elderly gentleman Goldman, who in her eyes is a great hero. In addition, Goldman himself can talk to a lot of characters in the game as he moves through the extremely beautiful surroundings. The hand-drawn graphics are fabulous to look at and are made as classic frame-by-frame animation. The first thing you notice when you start the game is that the camera runs through a lot of trees where you see chameleons and monitor lizards crawling around, beautifully hand-drawn, while the camera zooms in on the group of islands where Goldman is located. I know the reference to Cuphead is pretty obvious, but that's the level of artistry and visual quality we're talking about here. It's incredibly beautiful.

When you jump around the many levels, there are so many details that it almost becomes distracting. There is something happening in the foreground, something in the background, and something in the middle ground where you are moving around. You see birds flying by, volcanoes spewing magma and lava, and in the foreground you can see a spider spinning its web, for example. It almost feels like playing a live cartoon. I enjoyed every minute of the game, and combined with the fact that the platform game design itself is really well done, it makes me really look forward to this small but great game.

The controls themselves are spot on. They are super precise and responsive, which is also necessary because the game is quite difficult at times. On the other hand, it's also quite forgiving in terms of checkpoints, so you don't get thrown too far back when you die. If you're a mediocre platformer like me, you're going to die. I can almost guarantee it. The game is divided into small areas, each of which functions as a little puzzle that you have to solve, either by using the cane creatively or by getting past some really difficult and dangerous sections with precise platform game design. I really like how The Eternal Life of Goldman lets you repeat the same small sequences until you crack the code. For example, there are strange creatures that shoot you into the air if you jump on them and push you down into the ground if you press down instead. At the same time, poisonous balloons and other strange creatures try to kill you, so you have to constantly come up with new little strategies. When you finally reach one of the many phoenixes that serve as checkpoints, it's both nerve-wracking and hugely satisfying.

If there's one thing I'd like to see changed in the full version of The Eternal Life of Goldman, it's the long text-based conversations. They're quite difficult to read on a 4K screen, and they're so long that I lost concentration several times and just clicked on to get back to the platform part. I don't think that's the intention. I really hope that Weappy Studio either adds voice acting or at least the option for larger text, as that would make the experience significantly better for me. But other than that, I don't have much to complain about. I'm extremely excited about the game, and now that everyone can try the demo for free on Steam, I would definitely recommend giving The Eternal Life of Goldman a chance if you have even the slightest fondness for hand-drawn graphics and classic platform game design.