REVIEW: Silent Hill: Townfall (2026 Video Game) - on PC

Review by Jon Donnis

Silent Hill: Townfall is an ambitious new chapter for the series, and for much of its running time it feels like a very confident one. Set on the fictional Scottish island of St. Amelia in 1996, it takes Silent Hill away from its traditional American surroundings and gives the series a distinctly British setting. It is a change that works remarkably well. Unfortunately, Townfall also makes some questionable decisions with its stealth and combat, and those weaknesses become increasingly difficult to ignore as the game progresses.

The first thing that stands out is just how well St. Amelia has been created. The fog, deserted streets, abandoned communities and forgotten corners give the island an oppressive sense of isolation, while the recreation of 1990s Britain is one of the game's strongest achievements. Estates and shopping centres in particular have a convincing period feel, making the setting feel tangible rather than simply designed as a generic horror backdrop.

Screen Burn has done an excellent job with the world itself. There is a constant feeling that something is not quite right, even when nothing particularly frightening is happening. Townfall understands the value of atmosphere and small details, allowing the environment to tell parts of its story without constantly pushing information in front of the player.

The decision to present the entire game from a first-person perspective also suits this approach. It makes exploration feel more immediate and places the player directly inside Simon Ordell's experience. The restricted visibility provided by the fog adds to that sense of vulnerability, while the close perspective makes strange noises and unexpected discoveries considerably more effective. 

Townfall's story takes a similarly measured approach. Rather than immediately explaining Simon's connection to St. Amelia, the game gradually exposes fragments of the past and allows the player to speculate about what they mean. That patience works in its favour. There is enough information to encourage theories, but enough uncertainty to keep the mystery alive.

The use of three character perspectives gives the narrative another dimension. Seeing events through different viewpoints makes the story more psychologically complicated than it might initially appear. Themes of loss, consequence and introspection sit naturally within the setting, and the multiple endings give the player's actions additional significance.

The CRTV is perhaps the game's most distinctive idea. The portable television acts as a modern reinterpretation of the series' familiar radio, allowing Simon to pick up unstable signals containing clues, fragments of conversations and glimpses of events. It is more than an alternative way of delivering exposition. It becomes part of exploration, puzzle solving and dealing with threats, giving Townfall a mechanic that feels genuinely connected to its story, even if it feels a bit like the nonsense they use on Most Haunted, or Ghost Hunters.

The puzzles are generally effective for the same reason. Many are rooted in the narrative and the environment rather than feeling like arbitrary challenges placed between sections of the game. Discovering the answer can therefore feel like piecing together another part of St. Amelia's history. A few later puzzles are less successful, however, with unclear solutions occasionally pushing the player towards trial and error instead of deduction.

Audio is another area where Townfall deserves considerable credit. Environmental sounds constantly keep the player alert, while the soundtrack by Pilotpriest dynamically responds to events and helps shape the mood. The combination of music, distant noises and the unsettling sounds of the environment creates some genuinely uncomfortable moments without relying exclusively on conventional jump scares.

Unfortunately, the game's biggest weakness is also one of its most prominent features. Stealth is central to a large portion of Townfall, but the mechanics are not reliable enough to support it. Enemies can sometimes detect or grab Simon despite what appears to be a successful attempt to remain hidden, leaving the player unsure whether they made a mistake or whether the detection system simply behaved unpredictably.

That problem becomes more noticeable because there is relatively little enemy variety. Once the initial novelty has worn off, several encounters begin to follow familiar patterns, and the emphasis on avoiding rather than confronting threats can make certain sections feel considerably longer than they need to be.

The situation is worse in some of the later areas, where enemies that cannot be killed force the player to concentrate almost entirely on finding a route past them. This can produce moments of genuine tension, but the effect does not last indefinitely. Eventually, hiding and waiting for an opening becomes an exercise in patience rather than fear.

The CRTV introduces another problem when Townfall occasionally places enemies into encounters where they cannot be detected through the device. While this can initially seem like a clever way of keeping the player uncertain, it can also feel as though the game's established rules have suddenly changed. The result is an encounter that feels unfair rather than frightening.

Combat does not provide a particularly satisfying alternative. The melee system can feel clumsy, while firearms do little to make confronting enemies especially enjoyable. There are situations where abandoning stealth and simply fighting becomes the less frustrating option, which is not ideal in a game so heavily built around avoiding danger.

These issues are particularly disappointing because Townfall's other systems are considerably more successful. The CRTV gives the game its own identity, the narrative has enough mystery to keep the player interested, and the setting is among the most convincing new environments the series has produced. The multiple perspectives also add something meaningful to the story rather than simply providing another gimmick.

There are also moments when the different elements come together beautifully. Exploring St. Amelia while listening to an unsettling soundtrack, discovering another fragment through the CRTV and gradually understanding what happened there captures the essence of psychological horror far better than some of the more action-focused encounters.

That contrast ultimately defines Townfall. The game is at its best when it slows down and allows its setting, story and atmosphere to do the work. It is at its weakest when it demands prolonged stealth sequences or awkward confrontations with enemies. The former can be genuinely memorable, while the latter can feel like obstacles standing between the player and the parts of the game that are considerably more interesting.

Despite those shortcomings, Townfall does succeed in reimagining Silent Hill without losing the qualities that have made the franchise distinctive. Scotland in 1996 proves to be a surprisingly effective setting, and the game's commitment to atmosphere, psychological storytelling and environmental detail gives it a strong identity of its own.

The problem is that the encounter design is not on the same level as the rest of the game. By the later stages, the stealth-heavy structure has become a slog, and some of the tension created so effectively earlier has been replaced by frustration. There is too much time spent waiting for enemies to move, searching for safe routes and dealing with systems that do not always behave consistently.

Silent Hill: Townfall is therefore a game of considerable strengths and some equally obvious weaknesses. The atmosphere is exceptional, the setting is superbly realised, the story is compelling, the CRTV is an inspired addition and the three perspectives give the narrative genuine depth. Unfortunately, the stealth and combat prevent those strengths from carrying the experience all the way through.

Townfall hits more often than it misses, but when it misses, it can miss badly. There is an excellent psychological horror experience here, buried beneath some frustrating encounter design and an increasingly tedious final stretch.

I score Silent Hill: Townfall a disappointing 6.5 out of 10.

Out Now

UK https://link.amazon/B0j8FF3ps

US https://amzn.to/4z69ca9

REVIEW: Lou’s Lagoon (2026 Video Game) on Xbox

Review by Jon Donnis

Lou’s Lagoon has a lot going for it. The Limbo Archipelago is colourful and varied, the relaxed atmosphere suits the gameplay, and there is a good mix of exploration, crafting, fishing and platforming to keep things moving. Add in character customisation, seaplane customisation and the ability to build and decorate your own home, and there is a decent amount to get involved with.

Unfortunately, the game does not make enough of those ideas.

The islands are enjoyable to explore, particularly when you are free to decide what you want to do rather than being pushed constantly towards the next objective. The game is at its best when it lets you wander around, gather materials, fish or work on your own base without worrying about progression.

Resource gathering is helped considerably by the Resource Sucker, which makes collecting and processing materials pleasantly straightforward. It is a useful tool in a game that asks you to gather a lot of resources, and the different activities provide some welcome variety. Fishing, platforming and exploration give you something different to do alongside crafting, while upgrading your gadgets gradually expands what you can do.

Building and decorating your own home is also worthwhile. There is a genuine appeal to having your own space to customise, particularly when combined with the game's character and seaplane customisation options.

The mystery surrounding Uncle Lou gives the adventure a central thread, with clues and his trail leading you across the archipelago. 

Unfortunately, the problems start to pile up once the game asks you to work through its progression systems.

Inventory management is one of the biggest frustrations. Storage is limited, which is particularly inconvenient when gathering resources is such an important part of the game. The lack of useful storage containers makes the situation worse. You are encouraged to collect materials, yet there is not enough practical storage to make doing so comfortable.

The game also does not give you enough information about what resources you will need for upcoming assignments. That leaves you with an awkward choice. Either keep materials you might eventually need and quickly run out of space, or get rid of them and risk having to go and collect them again later.

Then there are the crafting timers. They are simply too slow, and rather than adding anything meaningful, they mainly delay progression. When combined with the repeated resource-gathering errands, this can make the game feel unnecessarily drawn out.

The errands themselves become repetitive. You are frequently sent away to gather materials for another assignment, which can interrupt the story rather than move it forward. The Uncle Lou mystery suffers because of this. Instead of always feeling like you are following an intriguing trail, it can feel as though the story is being used to justify another trip to collect something.

The islanders do not add enough personality to compensate for that. They feel more like quest dispensers than fully developed characters, while the limited voice acting makes conversations less engaging. Interactions can become something to click through rather than something you want to pay attention to, and I often found myself simply spamming the X button to get through them.

Platforming is another weak point. Some areas require precise jumping and landing, but the character feels very floaty. That makes basic jumps more frustrating than they should be, particularly when you are trying to reach a specific area and the movement does not feel precise enough.

Exploration is pleasant, but there is very little meaningful danger. Without much to threaten or challenge you, travelling around the islands can start to feel more like looking for resources than going on an expedition.

The seaplane is perhaps the most disappointing aspect of the game. It is an enjoyable way to travel between the islands, but the flying itself is not particularly exciting. Take-offs and landings are not shown, and the plane ultimately functions as transportation rather than the substantial flying experience the premise suggests.

Repeated journeys between islands are also made less appealing by lengthy loading times. When a quest sends you back and forth for resources, having to wait through those loading periods adds another layer of frustration.

These issues became particularly noticeable during my own playthrough. I eventually reached an area I needed to access but was unable to get there. At that point, I simply did not have the motivation to start another quest or spend time trying to work out what I had missed. I did not even feel compelled to look for a video online to find a solution. I had just lost interest.

That is a real shame because there are aspects of Lou’s Lagoon that I genuinely enjoyed. The colourful islands work well, the relaxed pace is appropriate, the Resource Sucker makes gathering easier, and the combination of activities gives the game plenty of variety. Building and decorating a home is another worthwhile addition, and the freedom to play at your own pace is exactly what you would want from this sort of experience.

Sadly, those positives are not enough to overcome the frustrations.

The limited voice acting makes the interactions dull, the platforming can be awkward, inventory management becomes a constant nuisance, crafting takes too long, and the game repeatedly sends you out to gather resources without giving you enough information about what you should be keeping.

The Uncle Lou storyline should provide the motivation to keep exploring, but too often it feels secondary to completing errands. Meanwhile, the seaplane, which could have been one of the game's defining features, ends up being little more than a way to travel between islands.

Lou’s Lagoon looks good and has plenty of appealing ideas, but I found myself becoming increasingly frustrated rather than relaxed. By the time I stopped playing, I was no longer interested in pushing through another quest simply to see what came next.

For a game built around exploration and discovery, that is difficult to overlook. Maybe I will revisit the game after a year of updates and bug fixes and rewrite this review.

Lou’s Lagoon is a disappointing 5 out of 10.

Out Now on Xbox for around £20

https://www.xbox.com/en-GB/games/store/lous-lagoon-deluxe-edition/9pdgqpbsrr0m

REVIEW: Resonance: A Plague Tale Legacy (2026 Video Game) - On PS5

Review by Jon Donnis

Resonance: A Plague Tale Legacy is an interesting new chapter for the A Plague Tale series. Developed by Asobo Studio and published by Focus Entertainment, the third instalment takes the franchise in a slightly different direction while still retaining the atmosphere, storytelling and tension that have helped define the series. Set 15 years before the events of A Plague Tale: Innocence, it introduces Sophia, a fierce young plunderer whose search for answers about her past leads her to the mysterious Minotaur's Island.

The biggest change is immediately apparent in the gameplay. Whereas the previous games were primarily built around stealth, Resonance is considerably more action-oriented. Sophia is a much more capable protagonist, able to parry incoming attacks and respond with deadly finishing moves. Combat is therefore faster and more fluid than it has been in previous entries, and there is a greater sense that Sophia can actively take on the dangers around her rather than constantly being forced to avoid them.

That change works surprisingly well. The combat gives Resonance its own identity without completely abandoning the elements that made the earlier games effective. There are still tense stealth sections, and some of the game's most frightening moments come when you are forced to stay hidden and carefully work out how to progress. The combination of combat, stealth, exploration and puzzles provides a welcome variety, even if some individual elements become less effective as the adventure progresses.

The Greek setting is another major strength. Moving the series into this environment gives Resonance a distinctive visual identity, with the changing landscapes and environments making the different sections of the island feel suitably varied. Asobo Studio has created another beautiful world to explore, and the visuals help establish an atmosphere that remains strong throughout the game. There is a sense of mystery surrounding the island that works particularly well alongside the game's mythology and increasingly compelling story.

The dual-timeline mechanic is also an intriguing addition. Being able to move between the Middle Ages and the Minoan period gives the adventure another layer, particularly when events in the past can influence what happens in the present. It is a clever idea that fits naturally with the game's exploration of ancient history, myth and fate, while giving the puzzles an additional dimension.

The light-based puzzles are generally clever and make good use of the environments, although they are not without their problems. There are sections where these puzzles begin to feel repetitive, while some of the mid-section puzzles have the unfortunate effect of slowing the adventure down just when the narrative should be gathering momentum. The opening chapters also take a little too long to find their stride, meaning the game does not make the strongest possible first impression.

Thankfully, the story becomes increasingly compelling as it progresses. Sophia is a strong central character, and Anna Demetriou delivers an excellent performance that gives the character the personality and emotional weight she needs. The wider character performances are similarly strong, while the soundtrack and sound design do a great deal to reinforce the atmosphere. There is a genuine emotional resonance to the storytelling, particularly as Sophia's journey becomes increasingly connected to the ancient history surrounding the Prima Macula.

Resonance also succeeds in working as a standalone adventure. Knowledge of the previous games will naturally give returning players more context, but the story is structured in a way that allows newcomers to engage with Sophia's journey without feeling completely lost. At the same time, the game expands the wider A Plague Tale universe rather than simply repeating what came before.

Unfortunately, the new emphasis on action is not always matched by sufficient depth. The combat can be simplistic, and despite its speed and fluidity, it can become repetitive. Sophia's abilities make her considerably more capable than the protagonists of the previous games, but the combat system does not always provide enough variety to sustain that approach for the entire adventure.

The traversal mechanics are similarly straightforward, and the skill tree does not add a great deal to the overall experience. These systems are functional rather than particularly memorable, and there are moments when it feels as though Resonance could have done more to develop its mechanics.

Pacing is perhaps the game's biggest weakness. The slow start, some of the mid-section puzzles and occasional weaknesses in the narrative structure prevent the adventure from maintaining the momentum it establishes later on. The stealth sections are particularly effective when they work, creating some genuinely frightening sequences, but they can begin to feel rather samey towards the end.

Even with these shortcomings, there is plenty to admire here. Resonance: A Plague Tale Legacy is willing to take the series somewhere new rather than simply attempting to recreate the previous games. The Greek setting, dual timelines and increased focus on combat give it a distinct identity, while the excellent atmosphere, strong performances, engaging story and beautiful environments ensure that it still feels unmistakably like A Plague Tale.

It may not reach the heights of A Plague Tale: Requiem, but that does not make Resonance a disappointment. It is a worthwhile addition to the franchise and an enjoyable action-adventure in its own right. The pacing and repetitive elements stop it from being truly exceptional, but the ambition behind the new direction is clear, and the strongest parts of Sophia's journey are genuinely compelling.

I have enjoyed the A Plague Tale series as a whole, and I enjoyed my time with Resonance: A Plague Tale Legacy. It successfully expands the universe while offering something different, and despite its weaknesses, there is more than enough here to recommend it.

I score the game a solid 8 out of 10.

Out Now on PS5 and Xbox at

https://link.amazon/B00VG5giA

REVIEW: Super Arcade Soccer 2026 (2026 Video Game) - on PC (Steam)

Review by Jon Donnis

Super Arcade Soccer 2026 arrives with a wonderfully simple idea. Take the fast, accessible football games of the 1990s, mix in modern physics and a colourful cartoon presentation, and create something that captures the pick-up-and-play appeal of classics such as Sensible Soccer, Kick Off and Super Sidekicks. On paper, it sounds almost impossible to get wrong.

Unfortunately, the reality is very different.

Super Arcade Soccer 2026 is one of those games where the concept is considerably more enjoyable than the finished product. There is plenty here that sounds appealing, from the extensive selection of teams and players to the various game modes and local multiplayer options, but actually playing the game quickly becomes an exercise in frustration.

The presentation is one of the stronger aspects. The cartoon-style graphics are decent without trying to be overly complicated, and the overall look suits the arcade approach. The sound effects are also good, while the music does its job nicely in the background. It certainly looks and sounds like a game that understands the sort of experience it is trying to recreate.

The developers have also done a reasonably entertaining job of getting around the lack of official football licences. You obviously do not get the real names of the clubs and players, but rather than simply making everything completely unrecognisable, the game takes the old-fashioned approach of altering names just enough to make it obvious who everyone is supposed to represent.

So, instead of Liverpool FC, you get The Kop FC. Players receive similarly amusing variations on their real names, with Mohammed Salah becoming Mohemed Seleh, for example. I have always had a soft spot for this sort of thing in unlicensed football games, and there is something nostalgic about seeing it here. It feels like a throwback to an era when developers had to be rather more creative.

There is also plenty of content on paper. The game features 48 qualifying national teams, more than 100 clubs and over 1,800 players inspired by real-life stars. There are Quick Matches, Cups and Leagues, International Showdown, local Showdowns and multiplayer for up to four players. You can also customise teams, alter line-ups and formations, adjust tactics and customise players.

That is a lot of football for a relatively straightforward arcade game.

The problem is that none of it matters very much when the fundamental act of playing football is not enjoyable.

The controls are the biggest issue by some distance. For a game that is supposed to be about simple, responsive arcade football, the controls frequently feel anything but responsive. The players are painfully slow unless you are constantly holding down the sprint button, and this makes the matches feel sluggish rather than fast and exciting.

That is particularly frustrating because speed should be one of the easiest things for an arcade football game to get right. You should be able to pick up the controller, immediately understand what your player can do and start enjoying yourself. Instead, Super Arcade Soccer 2026 constantly gets in the way.

Passing is another major problem. The ball regularly fails to go where you expect it to, making what should be a simple pass feel unpredictable. Arcade football can absolutely have exaggerated physics and unusual behaviour, but there still needs to be a clear connection between what you ask the player to do and what happens on screen.

Shooting is perhaps the strangest example.

Tap the shoot button and the ball can simply travel about a metre in front of your player. There is very little satisfaction in pressing a button to shoot only to watch the ball barely leave your feet. Instead, you find yourself having to hold the button down just to produce anything resembling a proper shot.

That completely undermines the supposed simplicity of the controls. A game inspired by classic arcade football should make shooting immediately understandable and enjoyable. You should be able to hammer the button and launch ridiculous shots towards goal. Instead, Super Arcade Soccer 2026 makes you think about how long you need to hold a button before the game will actually let you kick the ball properly.

This is where the game's ambitions become particularly frustrating. The developers talk about curl, swerve, knuckleballs, volleys, headers, lobs, finesse shots and sliding tackles, alongside full player ragdolls and realistic ball physics. There is clearly a lot going on beneath the surface.

But more does not necessarily mean better.

The game needed to get the basics absolutely right before worrying about whether goal nets stretch and snap back or whether every player fall looks different. When passing and shooting do not feel right, those more elaborate features become almost irrelevant.

The strange thing is that this should be such an easy formula to understand. Give players responsive controls, make the football fast, make scoring satisfying and then throw in ridiculous shots, entertaining tackles and plenty of chaos. That is the appeal of arcade football.

Instead, Super Arcade Soccer 2026 feels like a game that has concentrated on recreating the appearance and feature list of an arcade football game without capturing what actually made those games fun.

The local multiplayer options are potentially one of the game's biggest strengths. Supporting one to four players, with both competitive and co-operative play and Remote Play Together, gives Super Arcade Soccer 2026 the sort of structure that could have made it a brilliant game for playing with friends.

Unfortunately, even multiplayer cannot solve the fundamental control problems. If the football itself does not feel good, having more people involved simply means more people experiencing the same frustrations.

There is a good idea buried inside Super Arcade Soccer 2026. In fact, there may be a very good game buried inside it. The combination of classic arcade football, modern physics, exaggerated presentation, lots of teams and players and four-player local multiplayer sounds exactly like the sort of football game I would love to spend hours playing.

That makes the current state of the game all the more disappointing.

Super Arcade Soccer 2026 feels like it needed considerably more development and testing before being released. The problems are not minor imperfections that can simply be overlooked. They affect the basic controls and therefore the entire experience. It needs more than a little polishing. The core gameplay needs serious attention.

I genuinely wanted to like this game. The idea of a modern arcade football game that forgets about realism and simply concentrates on being fast, ridiculous and fun is something I would welcome with open arms. Why can't we have a simple arcade football game with the responsive controls of FIFA / EAFC, combined with arcade-style fun, ridiculous long-range shots, dumb tackles and fast gameplay?

After playing Super Arcade Soccer 2026, I found myself thinking that I could probably go back in time, find a random football arcade game from the 1980s and have more fun with it.

That is an incredibly frustrating conclusion to reach, because Super Arcade Soccer 2026 should have been such an easy win.

For me, this is probably the most disappointing video game I have played this year. There is a decent presentation, plenty of content and a genuinely appealing concept, but the controls and basic gameplay make it extremely difficult to recommend.

Super Arcade Soccer 2026 is a Super disappointing 3/10.

Out Now on Steam for £7.45. Perhaps wait for a few updates before considering it.

https://store.steampowered.com/app/4653510/Super_Arcade_Soccer_2026/