JeuxActu

So, did Housemarque dumb things down with Saros? Honestly, no. They just found a smarter way to open the game up to more players. The Carcosian modifiers let you tweak the difficulty however you want, which is a nice touch. But make no mistake, the game is still hard. It’ll test your patience, push you to the edge, and yeah, you’ll probably rage a bit. Because at its core, it’s still that same addictive loop : you fail, you learn, you try again. It’s frustrating, but also super rewarding. You quit and then come back five minutes later. Now sure, it’s a bit less brutal than Returnal. More structured, a bit more accessible. Some people will miss that raw edge, others will appreciate the balance. It does feel like it runs out of steam a bit after the credits, but overall? It’s still a really solid, intense experience. Not as groundbreaking as Returnal, but definitely a strong follow-up.

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

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

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

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

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

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

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

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

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