REVIEW: This Bed We Made (2026 Video Game) on PlayStation 5

Review by Jon Donnis

Set in the Clarington Hotel on 17 February 1958, the game puts you in the role of Sophie, a chambermaid whose curiosity leads her far beyond simply making beds and tidying rooms. What begins with a strange discovery in room 505 gradually develops into a much larger investigation involving the hotel's guests, employees and the secrets they are trying to keep hidden.

The story is easily one of the game's biggest strengths. Rather than throwing everything at you immediately, it allows the mystery to build as Sophie discovers more objects, conversations, letters and clues around the hotel. Individual mysteries gradually begin to connect, giving the investigation a satisfying sense of progression. There is enough uncertainty surrounding the characters to keep you questioning what is really happening, while the personal stories discovered along the way add depth to the wider mystery.

The 1950s setting also works extremely well. The Clarington Hotel has a distinctive period atmosphere, with its rooms, corridors, lifts and other details helping establish the era. The game understands that a mystery like this benefits from its surroundings, and the hotel becomes more than just a backdrop. Exploring its three floors and gradually learning more about the people staying there gives the whole experience a strong neo-noir flavour.

A large part of the enjoyment comes from Sophie's willingness to investigate things that are really none of her business. Searching through belongings and inspecting rooms makes the player an active participant in her curiosity. There is something particularly satisfying about finding an apparently insignificant object and then realising that it has a connection to something else you have already discovered.

The puzzles are another positive. They generally strike a good balance, requiring you to search your surroundings and think about the information you have uncovered without becoming frustratingly difficult. The investigation feels more rewarding because the solutions usually come from paying attention rather than simply throwing arbitrary puzzle mechanics at the player.

The journal is particularly useful. As the investigation develops, it records Sophie's thoughts, information about characters and important clues, making it easier to keep track of the growing number of details. That is important in a story where several mysteries are developing at the same time.

The writing is also surprisingly strong. The dialogue is enjoyable and helps the characters feel like actual people rather than simply being there to deliver information to the player. The letters scattered around the hotel are especially effective. Even when they concern people you may never properly meet, they give those characters convincing personalities and complicated stories of their own.

The English voice acting complements this nicely. The performances do a good job of communicating the personalities and emotions of the characters, while the facial animation helps sell many of the conversations. Expressions are generally synchronised well with the dialogue, although this is not entirely consistent.

That inconsistency becomes more noticeable because some of the game's character animations can look poor at times. There are moments where movements lack polish, while some of the visual details around the hotel can look rather basic. Lip-syncing can also occasionally fall out of step with what is being said, which takes some of the shine off otherwise strong character interactions.

The sound design is another area where the game succeeds. Small sounds such as squeaking doors, keys, locks and the hotel elevator contribute considerably to the atmosphere. They help create a sense that something could be happening just around the corner, even when you are simply moving between rooms.

The game's biggest weakness is arguably its length. A typical playthrough can be completed in around three hours, depending on how thoroughly you explore and investigate. That makes it an easy game to get through over a couple of sittings, but it also means the experience can feel over before the player has had enough time with the world and its characters.

Some of the character backstories could also have benefited from greater development. The game introduces interesting people and gives you reasons to become invested in their lives, but not every character receives enough attention to make their individual stories feel fully explored.

The hint system is another minor irritation. It can be useful when you are genuinely stuck, but its suggestions can become repetitive. There are also occasions when important clues are surprisingly easy to miss, which can make progression feel more difficult than the actual puzzle solving deserves. Some of the controls are similarly sensitive, occasionally making interactions less precise than they should be.

The consequences attached to your decisions are perhaps the most important reason to return after completing the story. This Bed We Made gives your actions genuine significance. Doors you choose to open, information you uncover and the way you interact with other characters can influence how events unfold. Even seemingly mundane decisions can have consequences, which makes the player's curiosity feel like more than a simple gameplay mechanic.

The relationship system adds another layer to this. Sophie can form closer bonds with people around the hotel, including choosing between Beth and Andrew as her ally. Their different personalities and approaches to the investigation give the player another meaningful decision to make, while the possibility of seeing different outcomes provides a good reason to experience the story again.

This Bed We Made is ultimately a fun investigative story game that succeeds because of its writing, atmosphere and willingness to let the player influence the outcome. It does not have the scale or depth of the very best detective games, and its short length, occasional animation problems and uneven character development prevent it from reaching the highest tier.

However, there is a lot to like here. The mystery keeps building, the 1950s setting gives it an identity, the puzzles are well judged and the decisions genuinely matter. For anyone looking for a relatively short narrative experience built around investigation, character relationships and uncovering secrets, This Bed We Made is worth a look.

Score: 7 out of 10

Out Now on PlayStation

https://store.playstation.com/en-gb/concept/10008630

REVIEW: CINESCAPE VR (2026 Video Game) - on MetaQuest VR

Review by Jon Donnis

CINESCAPE VR arrives on Meta Quest as an ambitious puzzle adventure set across a series of film studio environments, and at its best it captures that playful sense of stepping behind the curtain of cinema itself. Developed by Super AC Games, it builds its identity around Cinemorphosis, a distinctive mechanic that allows players to transform objects between real and fake states, reshaping the world around them in order to solve increasingly intricate puzzles and uncover the secrets buried within the Cinetech company.

There is an immediate charm to the concept. The idea of moving through themed studio sets, each one layered with subtle cinematic references for keen-eyed film fans, gives the game a strong sense of place. The environments are visually detailed and often atmospheric, with a clear effort made to make each stage feel like a functioning production space rather than a simple puzzle box. It is the kind of setting that encourages curiosity, even when the puzzles themselves begin to test patience.

Cinemorphosis is the game’s standout feature, and when it clicks it feels genuinely inventive. The ability to shift objects between states adds a tactile, hands-on quality to progression, and later stages build on this foundation in more demanding ways. As the mechanic evolves, so too does the complexity of the puzzles, which can be satisfying for players who enjoy working through layered environmental logic. There is a real sense of escalation here, even if it does not always land smoothly.

Supporting this journey is P4-TRIC, a robotic assistant created by the former director of the studios. He acts as both guide and companion, offering encouragement and direction throughout the experience. However, his presence also introduces a quieter tension, as his intentions are not entirely clear. There is a suggestion of something more deliberate behind his advice, and this undercurrent helps to support the broader narrative thread about identity, the Codex, and the hidden motivations behind the studio’s creation.

That said, CINESCAPE VR is not without its issues, and they become more noticeable the further you progress. Early interactions can feel confusing and unintuitive, leaving players unsure of how certain systems are meant to function. Even once the mechanics settle into place, the puzzle logic does not always feel consistent, and there are moments where solutions appear slightly disconnected from player expectation. This can disrupt the flow of problem solving, particularly in a game that relies so heavily on experimentation and spatial reasoning.

Pacing is another area where the experience wavers. While the game is clearly aiming for a slow burn mystery, there are stretches where the lack of clear structure makes progression feel uncertain. Instead of building steady narrative momentum, it sometimes drifts, leaving the player to push forward without a strong sense of direction. For a story that hints at deeper revelations around Cinetech, the Codex, and the protagonist’s true identity, this uneven pacing can dilute the impact of its narrative beats.

Even so, there remains a solid foundation underneath these rough edges. The creativity of the core concept, the ambition of the Cinemorphosis system, and the visual detail of the studio environments all work in its favour. When everything aligns, CINESCAPE VR delivers a genuinely engaging puzzle experience that feels unlike many other VR titles in the genre. It is also consistently enjoyable on a moment-to-moment level, particularly for players who are willing to sit with its slower, more methodical rhythm.

Ultimately, CINESCAPE VR feels like a game that is very close to something exceptional, but not quite there yet. It has the ideas, the atmosphere, and enough mechanical originality to stand out, but it is held back by inconsistency in puzzle design, unclear onboarding, and a narrative structure that struggles to maintain momentum.

It remains an entertaining and often striking experience, just one that could benefit from further refinement. As it stands, it earns a 7 out of 10, with clear potential to become something far stronger if its rougher edges are smoothed out.

Out Now on MetaQuest - https://www.meta.com/en-gb/experiences/cinescape-vr/9089051267851590/

REVIEW: Midnight Swamp (2026 Video Game) - on PS5

Review by Jon Donnis

Midnight Swamp arrives as a dark point and click adventure that leans heavily into eerie fairy tale energy, dropping the player into a strange world where nothing feels entirely safe or familiar. The setup is simple but effective, a restless night by a lake, a strange laugh from the water, and one wrong step that pulls you into a shifting swamp filled with odd creatures and hidden secrets. From there it builds a compact but focused experience that feels deliberately old school in its structure and pacing.

The strongest part of Midnight Swamp is how confidently it commits to its classic point and click identity. It feels like something that could have comfortably existed in the 1990s Amiga era, not in a dated way, but in a way that understands the charm of that design approach. The puzzles are the highlight, offering a balance that feels challenging without tipping into frustration. There is enough logic and restraint in their design that most solutions feel fair, even when the setting itself is deliberately strange. The hand drawn visuals also deserve credit, with a style that suits the swampy, fairy tale tone and helps sell the unsettling atmosphere without overcomplicating it.

There is also a pleasing variety in how the game builds its world through encounters and mechanics. Meeting unusual inhabitants, following the guidance of a talking Cat, and learning potion basics from a Witch in a gingerbread house all contribute to a sense of playful unease. It is not trying to overwhelm the player with complexity, instead offering small, self contained ideas that fit neatly together. Exploration feels straightforward, and the lack of unnecessary systems keeps everything readable and accessible.

The main drawback is length. Midnight Swamp is very short, and it can realistically be completed in under an hour on a first run. That brevity leaves it feeling more like a concentrated vignette than a full adventure. Completionists will find a bit more to do on a second run, particularly for achievements, but even then the content is limited. One missable achievement involving feeding the cat adds a small layer of replay attention, though it also highlights how easily the experience can be exhausted in a single sitting.

Midnight Swamp is a charming and compact point and click adventure that understands exactly what it wants to be. It is straightforward, lightly eerie, and rooted in old school design principles where puzzles and atmosphere do most of the work. There is no excess here, no overthinking required, just a short journey through a strange swamp world that knows when to end.

I enjoyed Midnight Swamp enough to go back for a second run after missing the "feed the cat" achievement, which feels appropriate for a game of this size and style. For fans of classic point and click adventures, it is an easy recommendation despite its short runtime.

I score Midnight Swamp a solid 8 out of 10.

Out Now on PlayStation

https://store.playstation.com/en-gb/concept/10017538

REVIEW: The End of the Sun (2026 Video Game) - on Playstation 5

Review by Jon Donnis

The End of the Sun arrives with a quietly confident premise and, to its credit, it largely delivers on that sense of intrigue. Set within a Slavic fantasy world that leans heavily on folklore and ritual, the game casts you as the Ashter, a fire mage able to track echoes of the past. It is an unusual hook, and one that immediately sets it apart. From the moment you step into the abandoned village, with its lingering smoke and fractured sense of time, there is a strong feeling that something meaningful has happened here, even if the game takes its time explaining exactly what.

Visually, it is difficult to fault. The world has been crafted with clear care, and that effort shows in the detail of the buildings, objects, and natural surroundings. The use of photogrammetry gives everything a grounded, almost tactile quality. It does not feel like a generic fantasy setting. Instead, it feels rooted in something older, more specific. That authenticity feeds directly into the atmosphere, which remains one of the game’s strongest elements throughout.

The central gameplay loop is where The End of the Sun becomes most interesting. You move from bonfire to bonfire, bonding with each one to reveal hidden traces and fragments of past events. Follow the smoke, uncover clues, solve a puzzle, then shift through time to see the consequences. It is a simple structure on paper, yet it works surprisingly well in practice. There is a natural rhythm to it, and when everything clicks, it can be genuinely absorbing. Watching history subtly reshape itself as you intervene adds a layer of satisfaction that many puzzle games struggle to achieve.

The puzzles themselves are mostly well judged. They are not overly complex, but they demand attention and a willingness to observe your surroundings carefully. The real appeal comes from how they tie into the wider narrative. Solving a puzzle rarely feels isolated. Instead, it feeds into the broader mystery, revealing new perspectives on the same characters across different points in time. That sense of continuity, of seeing lives unfold across seasons and years, gives the game a quiet emotional weight.

Voice acting is another clear strength. Performances across the board feel natural and convincing, which helps ground the more fantastical elements of the story. Characters come across as real people shaped by their circumstances, rather than simple narrative devices. It adds a layer of immersion that is easy to overlook but difficult to replace.

That said, the experience is not without its frustrations. Technical issues do creep in, and they can be more than minor inconveniences. Encountering a situation where progress is blocked, with no clear way to reset or escape, breaks the flow entirely. It suggests a lack of final polish that is hard to ignore, especially in a game so reliant on careful progression through its systems.

Even outside of outright bugs, there are moments where the game’s structure works against it. It is easy to lose your bearings, leading to stretches of aimless wandering as you try to piece together your next move. While some level of uncertainty fits the investigative tone, it can tip into irritation when direction becomes too vague. The line between discovery and confusion is a fine one, and The End of the Sun does not always stay on the right side of it.

Despite these issues, there is something undeniably compelling at the heart of the experience. Its ideas feel fresh, its world feels lived in, and its approach to storytelling through time and interaction stands out. When it works, it draws you in completely. When it falters, it can push you away just as quickly.

The End of the Sun is a thoughtful and original adventure that does a lot right, even if it stumbles in key areas. It is well worth experiencing for its atmosphere and ideas alone, but patience is required. If you can push through the rough edges, there is a rewarding journey waiting underneath.

Score: 7 out of 10

Out Now on PlayStation

https://store.playstation.com/en-gb/concept/10017998

REVIEW: Chickenhare and the Treasure of Spiking-Beard (2025 Video Game) - On Xbox

Review by Jon Donnis

There's something refreshingly old-school about Chickenhare and the Treasure of Spiking-Beard. Developed and published by N-Zone, this bright, energetic adventure takes its cues from classic platformers while building on the whimsical world of the Chickenhare film and comics. The result is a cheerful romp across colourful kingdoms, packed with puzzles, light combat and the kind of charm that only a talking chicken-rabbit hybrid can deliver.

The story follows Chickenhare and his trusty companions, Abe and Meg, as they race to find seven mystical crystals before the dastardly Spiking-Beard plunges the kingdoms into chaos. It's a familiar "save the world" setup, but the game's warmth and humour keep it from feeling stale. From the lively dialogue to the wonderfully animated cutscenes, everything here feels designed with younger players in mind, yet polished enough that parents won't mind joining in.

What makes the game shine is its trio-based gameplay. You'll constantly swap between Chickenhare, Abe and Meg, each with unique abilities that keep things varied. Chickenhare can glide using his ears, Abe smashes obstacles with his shell, and Meg brings a burst of martial arts flair. The swapping system works beautifully, creating a smooth rhythm between exploration, puzzle-solving and combat. It's surprisingly satisfying to master, and the controls are responsive enough to make even tricky sections feel fair.

Visually, this is one of the better-looking family titles on Xbox this year. Each world bursts with colour and personality, from the golden glow of Featherbeard's Castle to the eerie depths of Demon's Hole. The blend of 2D side-scrolling and full 3D exploration gives the game a playful cinematic flair. The camera transitions are handled neatly, with the shifts in perspective adding depth rather than confusion.

The puzzles, too, deserve credit. They strike a nice balance, challenging enough to make young players think without ever tipping into frustration.

Still, while Chickenhare and the Treasure of Spiking-Beard is brimming with heart, it's not without its limits. Older players might find the challenge level a bit too gentle, as combat and platforming rarely punish mistakes. This is very much a game for children and early teens, and while there's enough polish to keep grown-ups entertained, veterans of the genre will breeze through it.

Despite that, it's hard to hold a grudge against something so cheerful. The combination of character-switching, smart level design and light humour makes for a thoroughly enjoyable experience. It's a perfect introduction to the action-adventure genre for younger gamers and a charming nostalgia trip for anyone who grew up on platforming classics.

Chickenhare and the Treasure of Spiking-Beard may not reinvent the genre, but it delivers exactly what it promises: fun, family-friendly adventure with style and heart. Fans of the 2022 film or Chris Grine's original graphic novels will find plenty to love here.

Verdict: 7.5/10 – A delightful, easy-going adventure that soars on charm and colour, even if it plays things a little too safe for older players.

REVIEW: Call of the Sea (2025 Video Game) - on Nintendo Switch

Review by Jon Donnis

Call of the Sea is a first-person adventure from Out of the Blue, published by Raw Fury. You play as Norah, voiced by Cissy Jones, who travels to a remote island in the South Pacific during the 1930s to track down her missing husband, Harry, voiced by Yuri Lowenthal. There's no combat here, the focus is on exploring the island and working through puzzles.

The setting is the first thing that stands out. The island looks beautiful, with its bright colours, strange ruins and hidden corners that keep you curious about what's next. The presentation has real character, and Norah herself is a big part of that. Jones gives her a voice that feels warm and believable, and the story carries both mystery and emotion as it unravels.

Most of your time is spent solving puzzles. They come at a steady pace, usually clever and well thought out, and when they click they feel rewarding. The game clearly has a lot of care behind it, both in how the puzzles are built and in how the story pushes you forward.

Not everything lands perfectly. Some of the puzzles are tough, even with the hints available, and a few times I ended up checking online to figure out the solution. That can be a slippery slope, because once you've done it once it's tempting to do it again rather than wrestle with the harder sections. Playing on a Nintendo Switch Lite also showed up a few technical hiccups, with some stuttering in the animation, though it was never enough to ruin the experience.

Call of the Sea isn't the sort of game you'll replay often, but as a one-off adventure it works well. The combination of its striking island setting, its story full of heart, and a run of puzzles that mostly land makes it worth picking up if you enjoy thoughtful puzzle-driven games.

I score Call of the Sea a solid 7.5 out of 10.

Out Now on multiple formats

https://amzn.to/3Vk6Rq9

And on Nintendo Digital

https://www.nintendo.com/en-gb/Games/Nintendo-Switch-download-software/Call-of-the-Sea-2904504.html

REVIEW: Goosebumps: Terror in Little Creek (2025 Video Game) - On Xbox

Review by Jon Donnis

Goosebumps: Terror in Little Creek is a surprisingly solid and enjoyable entry in the long-running franchise, and it does a good job of translating the spooky, playful tone of R.L. Stine's books into a game. You step into the shoes of Sloane Spencer, a young teen trying to unravel the eerie mysteries lurking in the town of Little Creek. From fog-filled streets to abandoned theatres and dark, cluttered libraries, the environments are small but well designed, giving players plenty of corners to explore without ever feeling lost. The game balances exploration and narrative nicely, letting younger players wander, discover secrets, and uncover the town's supernatural happenings at a comfortable pace.

The stealth mechanics are a highlight, and they work better than you might expect from a game aimed at children. Timing your movements to avoid monsters, making clever use of your haunted book, and occasionally defending yourself with a slingshot all keep the gameplay engaging. There's a nice variety of creatures to contend with, each with its own behaviour, and the occasional jump scare, while mild, adds tension in just the right way for the target audience. Puzzles and interactive contraptions also provide a good challenge, encouraging players to think without feeling frustrated.

Visually, the game leans into a cartoony style that suits the Goosebumps universe well. Characters and monsters are designed to be creepy without being genuinely frightening, and the environments have enough detail to feel alive. Sound design complements this, with plenty of ambient noise, creature sounds, and spooky effects that heighten the sense of mystery. The learning curve is gentle, so players can pick up the mechanics quickly, and the gameplay loop of exploring, solving puzzles, and avoiding monsters is straightforward but fun.

The main downside is that the game is short. Most players will finish the story relatively quickly, which is understandable given the younger audience it targets, but it does limit replayability. There's also a sense that some areas and encounters could have been expanded to give the map more depth, but the game still manages to deliver a satisfying experience in its compact form.

Goosebumps: Terror in Little Creek is a fun, well-paced adventure that does a good job of introducing stealth and puzzle mechanics to younger players while staying true to the franchise's signature blend of spooky thrills and playful twists. It's not a long or complex game, but it doesn't need to be: it's entertaining, easy to pick up, and full of the Goosebumps charm that will appeal to fans old and new. For what it sets out to do, it's a strong effort and deserves recognition. I'd give it a solid 8 out of 10.

Out Now - https://amzn.to/4n2b9Pe