REVIEW: Hyper Cars Ramp Crash (2026 Video Game) - on Playstation 5

Review by Jon Donnis

Hyper Cars Ramp Crash arrives on PlayStation 5 with big promises of high speed spectacle and crushing, so called physics driven chaos. It throws you straight into a world of ramps, collapsing obstacles and exaggerated destruction, where every jump is meant to feel dangerous and every landing unpredictable. On paper, it sounds like a gleeful mix of arcade racing and stunt driven mayhem. In practice, the results are far more uneven.

There is some enjoyment to be found, though it tends to surface in short bursts rather than sustained sessions. The freestyle mode stands out as the clearest example of what the game does right. Dropping players into a wide open arena, it encourages experimentation, whether that means scaling oversized structures or simply smashing through objects for the sake of it. There is a simple, almost toy like appeal in knocking over giant blocks or nudging an oversized football towards a goal. It feels loose, occasionally satisfying, and crucially, it gives the player room to create their own moments. The push to complete levels and tick off achievements also provides a basic sense of progression, even if it never becomes especially compelling.

Visually, the game does just enough to pass muster without ever impressing. The cars themselves are serviceable, and the environments, ranging from roads to forests and deserts, offer some variation. That said, nothing here really takes advantage of the PlayStation 5 in a meaningful way. It looks like something that belongs elsewhere, and that impression becomes harder to ignore the longer you spend with it.

The problems begin to stack up once you move beyond that initial novelty. The game carries all the hallmarks of a mobile title that has been moved onto a far bigger stage without the necessary upgrades. What might feel acceptable on a phone in short sessions quickly becomes thin and repetitive on a console. Some levels feel hastily put together, lacking any real sense of design or progression. They exist more as obstacles than as carefully constructed challenges.

The much advertised destruction physics also fail to convince. While cars do crumple and twist on impact, the behaviour often feels erratic rather than realistic. Minor inputs can send your vehicle spinning wildly, as if the game is guessing rather than calculating. It undermines any sense of control and makes the experience feel inconsistent. Instead of rewarding skill, it often feels like you are at the mercy of unpredictable reactions.

Sound design does little to help matters. The engine noise quickly becomes grating, looping in a way that draws attention to itself for all the wrong reasons. Combined with fairly flat effects elsewhere, it creates an audio backdrop that wears thin far too quickly.

There is also a broader question hanging over the release itself. On a platform that hosts some of the most polished racing experiences available, Hyper Cars Ramp Crash struggles to justify its place. It does not push the genre forward, nor does it offer a distinctive twist strong enough to stand apart. Instead, it feels like a scaled up version of something better suited to quick, disposable play.

In the end, Hyper Cars Ramp Crash is defined by that mismatch. There is a flicker of fun in its sandbox moments, and a basic hook in chasing completion, but it never grows into something that feels at home on PlayStation 5. It is a reminder that scale alone does not elevate a game, and that what works on one platform does not always translate to another.

Hyper Cars Ramp Crash earns a 3 out of 10.

REVIEW: All Hail the Orb (2026 Video Game) - on PC Steam

Review by Jon Donnis

All Hail The Orb arrives on PC via Steam as a deliberately small-scale, slightly odd clicker game. It drops you into a pixel-art dungeon with a single purpose, keep the Orb powered. At first that means plenty of manual clicking, but it does not take long before the systems begin to unfold. Cultists arrive, automation creeps in, and what starts as a simple loop gradually turns into a lightly managed, self-sustaining machine. It never becomes complicated for the sake of it, which feels like a conscious decision rather than a limitation.

The game leans heavily into its tone. It is playful, a bit strange, and never overly serious. Ducks appear, not as a throwaway joke, but as part of a wider system in the Quackpot, where merging them grants passive bonuses. It is silly, but it works. The humour sits in the background rather than demanding attention, which helps the overall flow. Visually, the pixel art is clean and easy to read. The dungeon layout is clear even when things start to fill up, and the ability to zoom in and out keeps everything manageable. There is a polished feel to the presentation that makes the simplicity feel intentional rather than bare.

Progression is where the game really finds its rhythm. New mechanics arrive at a steady pace, whether that is unlocking rooms, placing cultists into zones, or managing their automatic routines. It never throws too much at you in one go. Instead, it builds layer by layer, letting you settle into each system before introducing the next. That makes it approachable, even for players who might not usually spend time with clicker or incremental games. There is also a clear distinction here, this is not an idle game. When you step away, progress pauses. You return to exactly where you left things, which gives your input a bit more weight.

There is a satisfying sense of growth as your single altar expands into a multi-room dungeon. Each new area adds something slightly different, which keeps the loop from going stale. Watching automation take over tasks you once handled manually is quietly rewarding. It becomes less about frantic clicking and more about light management, adjusting placements and keeping everything ticking along smoothly. It is addictive in that low-key way where you always feel like one more small improvement is just within reach.

That said, a few rough edges do show. There are occasional bugs when loading into the game, with some cultists losing their assigned roles and needing to be placed again. It is not game-breaking, but it does interrupt the flow. Performance can also dip towards the later stages when the dungeon is busy and effects are stacking up on screen. Disabling particle effects helps, though it does feel like a workaround rather than a full solution.

The other sticking point is something that will divide opinion. The game has a defined ending. On one hand, it gives the experience shape and a sense of completion that many clickers lack. On the other, if you enjoy letting these kinds of systems run endlessly, it can feel like it stops just as you are getting fully invested. It leaves you wanting more, which is both a compliment and a frustration.

All Hail The Orb succeeds because it understands its scope. It offers a focused, five-hour experience that can stretch a little longer if you aim for everything, like 100% achievements. It is easy to pick up, hard to put down, and consistently engaging without becoming overwhelming. At around five pounds, it earns its place through simple, well-paced design and a tone that keeps things light. It might not last forever, but while it does, it is one of the more enjoyable examples of the genre. An easy recommendation for anyone with a soft spot for clickers, and a solid 8.5 out of 10.

Out Now on Steam - https://store.steampowered.com/app/4262310/_All_Hail_the_Orb/

REVIEW: The Boss Gangster: Criminal Empire (2026 Video Game) - Out On Early Access on Steam

Review by Jon Donnis

The Boss Gangster: Criminal Empire sits in that hybrid space between simulation, RPG and open world crime strategy, where management and mayhem are constantly pulled together. It builds its identity around the idea of running a glamorous nightclub empire while also steering a criminal operation that stretches into gang wars, bribery and street level control. It is an early access release, and that context matters when judging how far it currently reaches and where it still stumbles.

At its best, the game presents a clear and easy to grasp loop. You meet the main figure of authority, take on some starting funds, and begin building your nightclub empire from the ground up. From there, it expands into hiring staff, improving your venue and managing the flow of guests and money. It never feels overly complicated in those early hours, and there is a certain satisfaction in how quickly it lets you get into the rhythm of building and upgrading.

The presentation also helps carry the experience. The top down view will feel familiar to anyone who remembers older crime management games such as Gangsters Organized Crime. There is a similar sense of overseeing a living system from above, watching your influence spread across a city that feels like it is constantly shifting between business and violence. Visually, it does enough to make the world readable and appealing, and the soundtrack, made up of custom in game tracks, does a solid job of supporting the nightlife atmosphere without becoming intrusive.

Where it becomes more ambitious is in its mix of systems. The game pushes you to juggle club management with criminal activity, from handling VIP guests and running your venue to dealing with rival gangs, illegal trading and corrupt officials. It wants you to move between legitimate business and organised crime almost seamlessly, and when it flows properly, that combination gives the game its identity. There is a clear attempt to make your decisions matter across both sides of the empire you are building.

It is also worth noting how straightforward the core structure feels at its best. You are essentially growing a business while building a criminal family, assigning roles, upgrading your influence and expanding into new areas of the city. There is a sense of progression that is easy to follow, even when the systems begin to stack up.

However, the early access label is impossible to ignore, especially when it comes to usability. The controls are one of the biggest barriers right now, feeling fiddly and inconsistent in places. There is also a surprising lack of clarity around them, with no option to review controls in the menu, which leads to unnecessary confusion early on. Even simple things like adjusting the viewpoint take longer than they should, which interrupts what is otherwise a fairly smooth gameplay loop.

There are also moments where the ambition outpaces the current polish. The idea of switching between nightclub management and open world missions without loading screens is strong on paper, but in practice the experience can feel uneven depending on what you are doing at any given time. It is a game that clearly has systems with potential, but they are still settling into place.

As it stands, The Boss Gangster: Criminal Empire feels like a solid foundation rather than a finished statement. It has a strong concept, a readable structure and enough variety in its systems to suggest something much bigger underneath. The presentation and atmosphere already work in its favour, even when the mechanics are not fully refined.

There is a good game here waiting for more time and development to bring everything into sharper focus. It is ambitious, occasionally messy, but built on an idea that is strong enough to carry it forward if the rough edges are smoothed out.

Out Now on Early Access

https://store.steampowered.com/app/2774040/The_Boss_Gangster_Criminal_Empire/

REVIEW: Dialoop (2026 Video Game) - on PC (Steam)

Review by Jon Donnis

Dialoop arrives with a clear intention. It wants to shake up a very familiar formula and wrap it in something louder, brighter, and a bit more unpredictable. At its core it is still a puzzle game about matching and scoring, but the way it layers roguelite systems and deckbuilding on top gives it a different rhythm. Every run feels slightly reassembled, as if the game is constantly nudging you to rethink how you approach the board.

The most immediate draw is the presentation. The visuals are bold, colourful, and almost hypnotic in motion. Blocks shift, flash, and collapse in a way that feels satisfying on a basic level, even before the deeper systems start to click. The voxel character designs add a playful edge, and the customisation options give you a small sense of ownership over the chaos. There is even a strange tonal twist with the defeat animations. Losing a run triggers an unexpectedly intense voxel demise that leans into dark humour. It is a jarring contrast, but one that sticks in the mind.

Mechanically, the sliding grid is the big talking point. Instead of simply swapping pieces, you shift entire rows and columns. It sounds like a small tweak, but in practice it changes how you read the board. You are not just reacting to what is there, you are constantly planning a few moves ahead, thinking about how one shift will ripple into another. It can feel awkward at first, especially if you are used to traditional match three systems, but there is a quiet satisfaction when it starts to make sense. Whether it was necessary is another question, but it is at least an honest attempt to evolve something well worn.

The roguelite structure adds another layer of tension. Building a deck that shapes how the board behaves gives each run a sense of identity. Cards trigger chain reactions, relics stack into powerful combinations, and suddenly a simple match turns into a cascade of points. Some relics feel transformative, especially when they boost multipliers or reward specific patterns. When the synergies line up, the game hits a real high. It becomes fast, reactive, and genuinely exciting, particularly in competitive matches where quick thinking matters.

That speed carries into the multiplayer side as well. Head to head battles can become frantic, with large combos disrupting opponents and shifting momentum in seconds. It is here that the game feels most alive. The systems that might feel a bit abstract in solo play suddenly have clear purpose when you are trying to outplay someone else.

There are drawbacks, and some are hard to ignore. The same visual intensity that makes the game stand out can also be overwhelming. The constant movement and colour can feel like too much, and for some players it may go beyond discomfort into outright nausea. It is not just busy, it is relentless. That alone will limit who can comfortably spend long sessions with it.

There is also a lingering question about depth. While the deckbuilding and relic systems add variety, the core loop still circles back to a familiar place. After a few runs, you may start to wonder if the added layers are enough to sustain long term interest. The game thrives in short bursts, where the quick pace and bright feedback keep you engaged. Stretch those sessions out, and the cracks begin to show.

The attempt at narrative, tied to ancient ruins and powerful guardians, is present but not particularly strong. It adds context rather than meaning, giving you a reason to move forward without ever becoming the main attraction. The bosses themselves are more interesting as gameplay challenges than as characters.

Dialoop ends up sitting in an unusual space. It is inventive without being essential, energetic without always being comfortable, and engaging without quite becoming absorbing over the long haul. There is a lot to admire in how it tries to push a familiar genre in a new direction, even if not every idea lands cleanly.

In the end, it is a solid and often enjoyable experience that feels best when taken in small doses. The visuals will pull some players in and push others away, and the mechanics will either click or frustrate depending on your patience. It does enough to stand out, just not quite enough to fully redefine what it is building on.

Dialoop earns a respectable 7 out of 10.

Out Now on PC Steam

https://store.steampowered.com/app/3020550/Dialoop_Roguelite_Puzzle/

REVIEW: The Day I Became a Bird (2026 Video Game) - On Playstation 5

Review by Jon Donnis

There is a gentle kind of charm running through The Day I Became a Bird that feels almost old fashioned in the best possible way. This is not a game chasing spectacle or complexity. Instead, it leans fully into warmth, simplicity, and that slightly awkward innocence of childhood emotions. It follows Frank, a shy young boy trying to win the attention of Sylvia, a girl whose fascination with birds sparks his rather unusual plan. What unfolds is a small, heartfelt story told across a handful of days, presented like an interactive bedtime tale.

The core of the experience sits in its light puzzle solving and exploration. You guide Frank through everyday moments, from cycling to school to wandering around the park, picking up items and working through simple challenges. The puzzles are never demanding, but they are consistently engaging enough to keep things moving. There is a clear focus on accessibility here, and it shows. Younger players will find it easy to grasp, while older players may simply enjoy the relaxed pace without feeling pushed or tested.

Visually, the game is a real highlight. The hand drawn art style gives everything a soft, storybook quality that suits the tone perfectly. Characters move with a gentle fluidity, and the environments feel alive despite their simplicity. It all ties together with a soundtrack that quietly supports the mood, adding to that sense of warmth without ever becoming intrusive. The presentation as a whole carries much of the emotional weight, and it does so with confidence.

That said, the simplicity does come at a cost. The game is very short, spanning just four in game days, and it never really expands beyond its initial ideas. While the puzzles are enjoyable, there is not a great deal of variety, and seasoned players may find themselves wanting more depth or a few additional mechanics to keep things fresh. It feels very much designed with younger children in mind, particularly those who might be playing alongside a parent.

Even so, there is something quietly effective about what it sets out to do. It captures that nervous, hopeful feeling of a first crush in a way that is easy to understand and easy to connect with. It does not overreach, and perhaps that is part of its appeal. It knows exactly what it is and sticks to it.

The Day I Became a Bird is a small, heartfelt experience that leaves a lasting impression despite its brevity. It may be aimed primarily at children, but there is enough charm here to resonate more widely. Simple, warm, and gently amusing, it is the kind of game that does not demand much of your time, yet still manages to leave you smiling.

8 out of 10

Out Now on Playstation

https://store.playstation.com/en-cz/concept/10017714