REVIEW: Dark Trip (2026 VR Video Game) - on MetaQuest

Review by Jon Donnis

Dark Trip arrives as one of the more unusual virtual reality releases in recent memory, and it wastes no time making that clear. This is not just another horror title dressed up for VR. It leans fully into its concept, building an experience around altered perception, unreliable reality, and the unsettling idea that the only way forward is to deliberately lose control.

You play as a detective investigating a disappearance in a small German town, a premise that sounds grounded at first but quickly spirals into something far stranger. The trail leads to an abandoned laboratory, one steeped in disturbing experiments and fragments of human suffering. Notes, recordings and environmental clues slowly piece together a grim history, one tied to wartime atrocities and occult ambitions. It is not subtle, and it does not try to be. Instead, it embraces a grotesque, almost theatrical tone that feels closer in spirit to Hellraiser than traditional detective fiction.

What sets Dark Trip apart is its core mechanic. Progression depends on the player choosing whether to remain sober or consume pills that trigger hallucinations. This is not a simple visual filter layered over the game. Entire rooms transform, puzzles shift logic, and previously invisible clues emerge only when perception is distorted. It creates a constant tension between clarity and chaos. You are never quite sure whether you are making things easier or more complicated by stepping into a hallucinated state.

At its best, this system feels genuinely inventive. Puzzles are carefully structured so that both sober and intoxicated approaches are viable, encouraging experimentation rather than forcing a single solution. Some sequences demand sharp observation in a stable environment, while others only make sense once reality begins to bend. It keeps the player engaged in a way many escape room style games struggle to achieve.

Visually, the game is strong throughout. The contrast between the cold, clinical design of the laboratory and the warped, organic horror of hallucinated spaces is striking. When the game leans into its more surreal side, it becomes genuinely unsettling. Walls breathe, machinery pulses, and the environment feels alive in a way that VR amplifies effectively. There is a confidence in how it presents these moments, even when they border on the absurd.

The storytelling is handled mostly through the environment, and it works well enough. Fragments of narrative are scattered across the rooms, encouraging players to piece together what happened rather than being told outright. It is not always subtle, but it is effective. The themes are dark, sometimes uncomfortably so, and clearly aimed at an adult audience. There is a deliberate push into taboo territory, which will not be for everyone.

That said, Dark Trip is not without its flaws. The use of AI generated artwork in places stands out, and not in a good way. It breaks immersion slightly, especially in a game that relies so heavily on atmosphere and detail. It feels like a shortcut in an otherwise carefully crafted experience.

Length is another issue. The game can be completed in around two hours, which feels short given the strength of its central idea. There is some replay value in revisiting rooms and experimenting with different approaches, but it only goes so far. Once the core mechanics have been fully explored, there is limited incentive to return.

There are also minor technical issues. Bugs do crop up, though not frequently enough to derail the experience. To the developers' credit, updates are ongoing and there is a sense that feedback is being taken seriously.

Even with its shortcomings, Dark Trip leaves a strong impression. It commits fully to its concept and delivers something genuinely different within the VR space. The idea of using altered states as a gameplay mechanic is not just a gimmick here. It is the foundation of the entire experience, and for the most part, it works.

Dark Trip is a disturbing, creative and at times genuinely unnerving piece of work. It may be short, and it may stumble in places, but it stands out in a crowded field simply by daring to do something different.

8 out of 10

Available at

https://www.meta.com/en-gb/experiences/dark-trip/27793698076945636/

REVIEW: Planet of Lana II (2026 Video Game) - On Xbox

Review by Jon Donnis

Planet of Lana II picks up two years after the events of the first game and brings players back to the mysterious world of Novo. Developed by Wishfully and published by Thunderful Publishing, the sequel sticks closely to the formula that made the 2023 original memorable. It remains a 2.5D side scrolling puzzle platform adventure built around atmosphere, environmental storytelling, and the bond between Lana and her small cat like companion Mui. The result is a game that often feels warm and familiar, though not always in ways that benefit it.

From the moment the journey begins, it is clear that the visual presentation remains one of the series' greatest strengths. The hand painted environments are striking. Frozen mountain ranges, deep ocean spaces, and ancient ruins unfold across the screen with a quiet sense of scale and detail. The world feels alive without the need for spoken dialogue. Characters communicate through an alien language while the environment and music carry the emotional weight. It is a confident storytelling approach that invites players to read between the lines rather than be told everything directly.

The orchestral score plays a huge part in that atmosphere. The music gently moves alongside the action, swelling during moments of discovery and pulling back when the story becomes more intimate. It is consistently pleasant to listen to and helps maintain the calm cinematic tone the series is known for. Combined with the visual design, it gives the game a polished and thoughtful presentation that is easy to admire.

Lana herself feels more capable this time around. Set a couple of years after the first adventure, she is older, more confident, and noticeably more agile. Players can now wall jump, dash, slide, and move through the world with greater freedom. Mui also receives expanded abilities. The small creature can hack machines and use telepathic powers to briefly control other creatures in the environment. These skills feed directly into the puzzle design, which relies heavily on cooperation between the two characters.

Many of the puzzles are genuinely clever. They often ask players to observe their surroundings carefully, time actions correctly, and use Lana and Mui together in small but satisfying ways. Compared with the first game, some challenges are more layered and make better use of the characters' expanded abilities. When the design clicks, solving a puzzle feels natural and rewarding rather than overly mechanical.

The story also deserves praise. The narrative explores the consequences of technological progress on Lana and Mui's home world. New inventions promise advancement but also bring greed and imbalance among the planet's tribes. As the journey unfolds, the pair uncover buried truths about the planet and hints about Mui's origins. It is an emotional thread that encourages players to care about the characters and stay curious about what comes next.

Despite these strengths, the sequel struggles to feel like a true step forward. One of the most noticeable issues lies in the pacing. The adventure lasts roughly six hours, yet stretches of that time are spent simply running across environments while little happens. The scenery is attractive, but extended quiet sections can make the experience feel padded rather than purposeful.

The puzzles themselves are also inconsistent. While some are clever and satisfying, others feel strangely simple or unnecessarily convoluted. At times the game introduces an idea only to resolve it quickly without much challenge. This uneven balance removes some of the tension that puzzle platform games thrive on.

Controls present another frustration. Lana's new abilities expand what she can do, but the movement never feels quite as smooth as it did in the original game. Something about the responsiveness feels slightly off. Actions can seem less intuitive, which is surprising given the additional movement options. Instead of making progress feel fluid, the extra mechanics sometimes slow things down.

Audio design is another mixed area. The orchestral music is excellent throughout, yet the character sounds are less successful. The laughter, chirps, and fragments of alien language can become grating over time. What is meant to add charm occasionally ends up distracting from the otherwise strong atmosphere.

The short length of the adventure also raises questions. A six hour journey is not necessarily a problem for a story driven game, but here it feels slightly thin. The original title offered a more consistent flow of puzzles and discoveries. In comparison, this sequel contains fewer memorable puzzle sequences and more stretches of simple traversal.

The ending does little to resolve that feeling. The story closes on a cliffhanger that feels abrupt rather than exciting. After investing several hours in Lana and Mui's journey, the conclusion arrives quickly and leaves more questions than answers. For some players that may hint at a future continuation, though it risks feeling unsatisfying in the moment.

Taken as a continuation of the first game's story, Planet of Lana II works well enough. The characters remain likeable, the world is still beautiful, and the emotional tone is intact. However, as a full sequel it never quite improves on what came before. The original game felt tighter, more focused, and more confident in its design.

That sense of familiarity is both the sequel's strength and its weakness. Returning fans will appreciate revisiting Lana and Mui, yet the experience rarely evolves beyond the foundations already established. In some ways it almost feels closer to an extended follow up episode rather than a major new chapter.

For players who already subscribe to Xbox Game Pass, it is certainly worth a look. The atmosphere, music, and character driven storytelling remain engaging even when the gameplay falters. Those expecting a significant leap forward from the first game may come away a little disappointed.

Planet of Lana II is still a charming and thoughtful adventure, but it struggles to escape the shadow of its predecessor. What should have been a confident next step instead feels like a smaller return to familiar ground.

Score. 6.5 out of 10.

Out Now on Xbox

REVIEW: Salmon Man (2026 Video Game) - on MetaQuest VR

Review by Jon Donnis

Salmon Man is a physics-based VR platformer for MetaQuest that surprises you with how much depth it hides behind a simple concept. You play as Salmon Man trying to make your way upstream using nothing but your paddle, and at first glance, it might look like a straightforward, even quirky, arcade challenge. But as you progress, the layers of design, precision, and difficulty become immediately clear. Every jump, swing, and manoeuvre requires thought, timing, and skill, and the game does an excellent job of making both victories and failures feel meaningful.

The core gameplay revolves around your paddle, which is both your lifeline and your main source of tension. It reacts precisely to your hand movements, with no noticeable lag, allowing you to pull off daring jumps or risky maneuvers with confidence. The physics are demanding yet fair, making every interaction feel grounded and intentional. It's particularly satisfying when you manage a difficult sequence perfectly, and equally frustrating when a single slip sends you tumbling back, forcing you to start again. This high-stakes loop gives the game a thrilling sense of challenge, especially when water transforms into lava and mistakes can cost you dearly.

Level design is another standout. Each stage is packed with creative obstacles, from swinging platforms to absurd environmental hazards, and the layout encourages experimentation and repeated attempts. The game constantly teases you with "just one more go," making it difficult to put down once you get going. The world itself is colourful, lively, and full of absurd touches that inject humour into the intense platforming. For speedrunners, Salmon Man is particularly well-suited. The leaderboard encourages replayability, and unlocking new paddles or completing side challenges adds extra goals for those who enjoy perfecting their runs.

That said, the game is not without its limitations. The graphics are fairly plain, reflecting the small studio behind the project, and while this doesn't impact gameplay, it does make the world feel a little less immersive at times. Players who dislike highly challenging or rage-inducing games may find it frustrating, as some sections require repeated attempts and precise timing to overcome. Motion sickness is generally mild but can occur during certain fast or awkward movements.

Salmon Man is a simple but deeply satisfying VR experience. It combines challenging physics-based platforming with playful, absurd environments and finely tuned controls. Each success feels earned, and the game rewards patience, skill, and persistence. For anyone who enjoys difficult games, precise movement, and the thrill of competing for the fastest times, Salmon Man delivers in spades (oars?).

I score Salmon Man a solid 8 out of 10.

Out Now on MetaQuest

https://www.meta.com/en-gb/experiences/salmon-man/24064765919861785/

REVIEW: MAVRIX by Matt Jones (2026 Video Game) - Early Access on Xbox

Review by Jon Donnis

Mountain biking games rarely get the space to breathe, but MAVRIX by Matt Jones goes big straight away. This is not a tight circuit racer or a handful of curated trails. It throws you into a sprawling 100 square kilometre playground and simply says go. Downhill tracks, slopestyle lines, bike parks and open stretches of wilderness all sit side by side, inviting you to carve your own routes instead of following a prescribed path. It feels loose, free and refreshingly confident.

At its heart, MAVRIX is a mix of racer, trick sandbox and social space. One minute you are blasting down a timed downhill run chasing a leaderboard spot, the next you are stitching together your own line over jumps and berms just to see what works. Then a mate drops in and suddenly you are riding together, hunting hidden challenges or trying to sync huge sends for the laugh of it. That sense of shared play gives the world a bit of life. It never feels like a sterile menu driven experience.

The physics system is easily the headline act. Dual stick controls split braking and body movement in a way that takes a little learning, but once it clicks, it feels great. You feather the brakes, shift your weight, and manage the suspension with a surprising level of intention. Landings have heft. Drifts feel earned. Even a simple bunny hop has a bit of character. The recent console updates help too, with the bike and rider feeling more grounded thanks to suspension tuning and improved turning physics. Being able to move the rider's body to tighten a corner adds just enough finesse to separate good runs from great ones.

Tricks and the new Slopestyle mode are another strong addition. Three fresh slopestyle courses join the existing jump trails, and the fact that those older trails can now host competitions makes the whole map feel more useful. Instead of isolated arenas, everything connects. You start looking at the landscape differently, spotting transfers and creative lines that were not obvious before. It leans into the playful side of mountain biking, which suits the game well.

There is a pleasing layer of authenticity running through the rest of it. Real world brands let you tweak frames, components and clothing, and the sponsorship system, including the new Red Bull deal, pushes you to grind for contracts like a pro rider would. Add global rankings and competitions with genuine prizes and you have a clear reason to keep pushing for cleaner, faster runs. It is not just messing about in the dirt. There is a bit of purpose behind it all.

Visually and sonically, it does the job nicely. The landscapes are broad and inviting, the parks look the part, and the sound of tyres on dirt and suspension chatter sells the speed. More importantly, it is simply fun. That is the thing that kept pulling me back in. Even after a messy crash or a failed trick line, you just want one more run.

Still, this is early access, and it shows. Bugs crop up, rough edges remain, and there are moments where systems feel unfinished. You can sense that the foundation is strong but the house is not fully built yet. It also wobbles a bit between simulation and arcade. For something marketed as serious and authentic, it sometimes drifts into slightly exaggerated, gamey behaviour. Personally, I did not mind the lighter touch, but hardcore riders looking for a strict sim might raise an eyebrow.

Having played the early access version on PC before this console release, the improvements are obvious. It feels smoother, more considered and generally better put together. The steady updates and clear signs that the developers are listening to players give it a lot of goodwill. You get the sense this is a project that will keep evolving rather than sitting still.

Right now, MAVRIX by Matt Jones is not perfect, but it is promising and already genuinely enjoyable. With its huge world, flexible riding, strong physics and regular updates, it has every chance to cement itself as the go to game for this niche. A bit more polish and it could be something special.

I score MAVRIX by Matt Jones a solid 7.5 out of 10. I look forward to seeing what they have planned next.

Out Now on Xbox

https://www.xbox.com/en-GB/games/store/mavrix-by-matt-jones-game-preview/9nzx67j81x6f

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

Review by Jon Donnis

UFOPHILIA leans into the unnerving investigation type feeling from the very first mission. This first person psychological horror game casts you as an investigator whose obsession with UFO sightings has pushed them into the wild, chasing reports of close encounters and trying to prove, with cold hard evidence, that we are not alone. It is a simple hook, but an effective one.

Each mission begins quietly inside your cramped RV, which serves as both headquarters and safe haven. Screens flicker, equipment hums, and your tools are laid out like a ghost hunter's kit bag. Cameras, motion detectors, EMF readers, magnetic wave sensors and more sit ready to be deployed. From there you select a location tied to sightings, then step out into the dark with only your gear and your nerves for company. It is a strong setup that immediately sells the fantasy of being a lone field researcher rather than a typical horror game protagonist.

The structure is clear and methodical. First you pick the job, then you gather clues and identify what sort of alien might be present. After that you narrow down the spawn zone where it first appeared, before finally facing the thing itself and attempting to photograph it. That final step is where the tension spikes. The game constantly reminds you that this is not just a checklist. Each alien behaves differently and you must understand its quirks before getting close enough for proof. It turns the act of taking a photo into something that feels risky and oddly personal.

Where UFOPHILIA shines most is atmosphere. Missions are unpredictable, with randomised spawn zones and alien types, so you never feel entirely comfortable. One run might involve something curious and almost playful, another might feature something openly aggressive or even prone to abduction. The uncertainty keeps you alert. There are some genuinely sharp jump scares and a steady, lingering unease that follows you from start to finish. It is not constant screaming horror. It is the quieter kind, the sort that makes you hesitate before stepping into the next patch of darkness.

The investigative side is also handled well. There is a satisfying learning curve as the game gradually teaches you how to use each tool and how different bits of evidence fit together. You begin to think like an investigator, cross referencing phenomena back at the RV, trying to narrow down possibilities. Certain devices work better together, and discovering those little synergies feels rewarding. It gives the experience more depth than simply wandering about waiting for a monster to appear.

That said, the whole thing feels rough around the edges. The core ideas are solid, but the execution sometimes struggles to keep up. Movement and general gameplay can feel clunky, which chips away at the tension the game works so hard to build. Instead of feeling scared, you occasionally feel frustrated, and that is never ideal in a horror title.

Lighting is another sticking point. Dark scenes are not just moody, they are often so dark that basic navigation becomes a chore. You end up staring at the night vision screen on your camera just to see where you are going. That might be the intended design, but it is not especially enjoyable. What should be tense becomes fiddly, and the constant reliance on a tiny green display takes you out of the world. 

Then there are the aliens themselves. Despite nine unique types with different behaviours and weaknesses, they can come across as a bit bland. For a game built around discovering and documenting unknown lifeforms, they do not always feel as striking or memorable as they should. The concept promises the unknown, but the reality can feel oddly familiar.

Even so, there is potential here. The mission structure, the randomisation, the use of specialised tech and the uneasy tone all point towards something that could be genuinely special. Right now it feels like a project that needed more time in the oven. Another year of polish and refinement could easily turn it from a decent curiosity into a standout horror experience.

As it stands, UFOPHILIA is intriguing, tense in places and occasionally very effective, but also clearly unfinished. Worth a look for fans of slow burn investigative horror, just with tempered expectations. I score it 6 out of 10.

Out Now on Steam

https://store.steampowered.com/app/3851320/UFOPHILIA/

REVIEW: EBOLA VILLAGE (2026 Video Game) on Xbox

Review by Jon Donnis

EBOLA VILLAGE wears its influences proudly. This is a survival horror game rooted firmly in the traditions of the 1990s, where atmosphere matters more than spectacle and progress is earned through patience rather than guidance. Played from a first person view on Xbox, it places you in the shoes of Maria as she travels to a remote USSR village following a chilling emergency broadcast about a biological threat. What follows is a slow, oppressive descent into something deeply unsettling.

One of the game's greatest strengths is its refusal to hold the player's hand. There is no glowing waypoint, no clear signposting, and no linear route laid out for you. You are expected to explore carefully, search rooms thoroughly, manage your inventory and piece together where to go next through observation and logic. Doors stay locked until you earn the right to open them, and new paths only reveal themselves once you have truly engaged with the environment. It is refreshing, and for fans of classic survival horror, deeply satisfying.

The atmosphere does most of the heavy lifting, and it succeeds. The sound design is particularly effective, with creaking floorboards, distant thunder, and the oppressive silence inside abandoned buildings creating constant tension. Music is often absent altogether, which only heightens the unease. The setting of a bleak USSR village feels carefully considered, and the environments are detailed enough to sell the illusion without becoming distracting. The visuals are solid rather than spectacular, but they serve the mood well, which is what matters here.

Puzzles are another highlight. They are balanced and thoughtfully designed, calling back to the style of 90s horror games where solutions make sense once discovered, but rarely feel obvious at first glance. Progress requires attention to detail and an understanding of the story, encouraging players to follow the narrative closely rather than rushing ahead. Combat, when it happens, is brutal and direct, supported by a variety of weapons, realistic enemy physics, and a damage system that does not shy away from dismemberment. Boss encounters add variety and reinforce the sense of danger lurking throughout the village.

That said, EBOLA VILLAGE is not without its drawbacks. The most noticeable is its length. A full playthrough can be completed in roughly five hours, which may leave some players wanting more once the credits roll. There is also the issue of motion sickness. Extended play sessions triggered discomfort for me on several occasions, something players sensitive to this should be aware of before diving in.

Despite these issues, EBOLA VILLAGE left a strong impression. I was genuinely surprised by how effective it is at capturing the spirit of classic survival horror while presenting it through a modern first person perspective. The atmosphere is thick, the gameplay is confident, and the experience feels focused and deliberate from start to finish.

EBOLA VILLAGE is a very decent game with strong atmosphere, solid visuals, and engaging mechanics that respect the player's intelligence. I would score it a confident 8.5 out of 10.

Out Now on Xbox

https://www.xbox.com/en-gb/games/store/ebola-village/9n6wqfsk8r3x

REVIEW: Planet of Lana (2025 Mobile Video Game) - on Android

Review by Jon Donnis

Planet of Lana arrives on mobile as a thoughtful, quietly confident puzzle platformer that wears its influences openly. Developed by Wishfully Studios, this 2025 release brings its cinematic ambitions to Android devices, placing players in control of Lana, a teenage girl navigating a beautifully imagined world under siege by hostile alien machines. It is a gentle game at heart, but one that understands how to layer tension, mystery and emotion without ever raising its voice.

From the outset, the presentation does a huge amount of the heavy lifting. The hand painted visual style is striking, clearly inspired by the softness and warmth of Studio Ghibli films, even when depicting a planet scarred by mechanical invasion. Lush landscapes, subtle animation and careful use of colour create a world that feels alive and worth saving. There is a constant undercurrent of unease, balanced by moments of calm beauty, which keeps the pacing taut without ever feeling rushed.

The story is simple but effective. Lana is searching for her abducted sister, and that clear motivation anchors the adventure nicely. There is no excess exposition, and the narrative unfolds naturally as you move through the world. It works because the game trusts its imagery and atmosphere to do the talking, which suits the genre well.

Gameplay follows a side scrolling puzzle platform structure, heavily influenced by cinematic titles such as Inside. Lana is not a fighter, and neither is her cat like companion Mui. Instead, progress comes through observation, timing and cooperation. Lana can swim and issue commands, while Mui's smaller size and agility allow it to reach places she cannot. Puzzles are built around this partnership, asking you to think carefully about positioning, timing and environmental interaction. Mui's ability to hypnotise certain creatures and, later on, the power to temporarily tame creatures and hack machines, add welcome layers without overcomplicating things.

The puzzles themselves are well executed and nicely paced, even if they rarely feel truly original. They are satisfying to solve, logically structured, and varied enough to avoid monotony. The real hook is how seamlessly they are integrated into the world, rather than feeling like obvious obstacles placed in your path.

Stealth plays a key role, as Lana and Mui cannot directly attack enemies. Avoiding detection and using the environment to bypass threats keeps encounters tense, especially when timing is tight. It reinforces the vulnerability of the characters and fits the tone of the story well.

Where the mobile version stumbles slightly is in its controls. Directing Mui can be fiddly at times, and touch screen input does not always feel as precise as the game demands. This is clearly a title designed with a gamepad in mind. Using a controller dramatically improves the experience, making movement and commands feel far more natural. While it is possible to connect the game to a larger screen and use a Bluetooth controller, that does somewhat undermine the appeal of having the game on a phone in the first place.

Despite these issues, Planet of Lana remains a strong example of the puzzle platformer genre. It may not reinvent the formula, but it executes its ideas with confidence, charm and a clear artistic vision. The sense of mystery carries you forward, and the bond between Lana and Mui gives the journey real emotional weight.

Planet of Lana is a beautiful, absorbing adventure that occasionally shows the limitations of its mobile format. With the right controller, it becomes a genuinely rewarding experience. Even with its lack of originality in places, it stands out thanks to its atmosphere, pacing and visual splendour. I thoroughly enjoyed my time with it and would comfortably score Planet of Lana a solid 8 out of 10.

Out Now on Android

play.google.com