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: 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: Pit Panic (2026 Video Game) - on PS5

Review by Jon Donnis

Pit Panic is built around one simple idea, keep moving upwards. The problem is that almost everything in the ancient temple is designed to stop you. Traps, enemies, environmental hazards and awkward routes are all competing for your attention, while the collapsing surroundings leave little room for hesitation. It creates a fast platforming experience where good movement matters as much as knowing what to do.

The controls are one of the game's strongest features. Movement is responsive, which makes the fast pace much easier to handle, and there is a satisfying sense of momentum to getting around the levels. Once you become familiar with the movement, the game gives you plenty of opportunities to use it properly, particularly when negotiating hazards or trying to maintain a good run.

The hook adds considerably more depth than a standard grappling tool. It can dig through blocks, swing you around the environment and reveal hidden treasures, making it useful for both movement and exploration. More importantly, it becomes part of the game's environmental puzzles rather than simply being another movement mechanic.

Those puzzles provide some of the more inventive moments. Objects and materials can be manipulated in unusual ways, including turning sand into glass and jelly into fire. Bridges can even become weapons when the situation calls for it. These ideas give the levels a playful quality and encourage you to look at the environment rather than simply searching for the next platform.

There is also a good balance between straightforward platforming and experimentation. You can often see where you need to go, but working out how to get there is another matter. The physics-driven movement means that positioning, timing and momentum all matter, which gives the platforming more substance than simply jumping from one fixed platform to another.

The level design benefits from the game's variety. Four distinct biomes provide different visual styles, enemies and puzzles, helping to prevent the experience from feeling visually monotonous. The cartoon presentation works particularly well with the game's humorous tone, giving Pit Panic a light personality despite the considerable number of ways it can kill you.

The risk and reward mechanics are another worthwhile addition. Sacrificing health to obtain power-ups can be useful, but it also creates decisions that have consequences later in a run. It is a simple system, but it fits the game's emphasis on quick decisions and gives you another reason to think about whether taking a particular opportunity is worth the cost.

Pit Panic is also easy to understand. The objective is obvious, the controls are approachable and the basic mechanics can be learned quickly. The difficulty comes from putting those mechanics together effectively. Knowing how the hook works is one thing. Using it while moving quickly through a dangerous section is another.

That difficulty will be a sticking point for some players. Death is frequent, and mistakes can set a run back considerably. Certain precision sections leave little room for error, while some situations require trial and error before you understand the correct approach. For players who enjoy demanding platformers, that is likely to be part of the appeal. For more casual players, it could become frustrating quite quickly.

The game's challenge also means that progress can feel inconsistent. You can have a strong run going and then lose it because of one poorly timed movement. That makes successful attempts satisfying, but it can also interrupt the momentum that the game's otherwise excellent movement creates.

There is a similar issue with repetition. Pit Panic offers a large amount of content, including more than 1,000 handcrafted levels, daily challenges and player-created levels. That gives the game plenty of material to work through, but the fundamental objective remains the same throughout. You are still trying to climb, avoid hazards, solve environmental problems and improve your performance.

The daily challenges are particularly useful because they provide a reason to return without requiring another full commitment to the main experience. Competing for better times adds another layer for players who enjoy chasing their own scores or comparing their performance with others.

The question is whether that is enough to provide long-term appeal. For me, Pit Panic works particularly well as a game to play in shorter bursts. There is enough variety and challenge to make individual sessions enjoyable, but I am less convinced that I would want to spend huge amounts of time playing it continuously.

That does not take away from what the game does well. The movement feels good, the hook gives the platforming its own identity, the environmental puzzles are entertaining and the different biomes provide welcome variety. The difficulty is also more rewarding when you start understanding the mechanics and making fewer mistakes.

There are certainly moments when Pit Panic becomes a rage game. A difficult section can demand several attempts, and losing progress because of a single mistake can be irritating. But the game does give you the tools to improve, and the challenge generally feels connected to mastering those tools rather than simply making the game difficult for its own sake.

Pit Panic is therefore a solid and enjoyable platformer with a clear mechanical identity. It does not completely avoid the problems associated with its genre, particularly repetition and frustration, but its responsive controls, satisfying movement and environmental puzzles give it enough character to stand apart.

I like Pit Panic, although I am not convinced it has the long-term pull to become a game I would continually return to. For players who enjoy challenging platformers and do not mind repeated failure while learning a level, there is plenty here to enjoy. Those looking for something more relaxed may find the difficulty considerably less appealing.

Pit Panic scores 7.5 out of 10.

Out Now on PS5

https://store.playstation.com/en-cz/concept/10017455

REVIEW: Disgaea Mayhem (2026 Video Game) - on PlayStation 5

Review by Jon Donnis

Disgaea Mayhem takes the long-running Disgaea franchise in a completely different direction, swapping the traditional tactical RPG gameplay for a more direct action RPG experience. The result is a game that keeps much of the charm, humour and over-the-top personality that fans know and love, while offering a much more accessible way to experience the series.

The story sees players take control of N.A., a mercenary with a love for sweet treats and a desire to earn some money, as he joins forces with Princess Tichelle, who has an important craving for pudding. It is a typically silly Disgaea setup, filled with exaggerated characters, ridiculous situations and the kind of playful humour that has helped the franchise stand out for years.

The biggest change is the move away from turn-based strategy into fast-paced hack-and-slash combat. Instead of carefully planning every move on a grid, players jump straight into the action, taking on huge groups of enemies with a range of weapons. This change works surprisingly well, especially for those who have struggled to get into the more complex tactical systems of previous Disgaea games.

Combat is easily one of the highlights. The ability to switch between different weapon types keeps battles feeling fresh, with swords, bows, guns, fists and axes all offering different ways to approach fights. These are not simply cosmetic differences either, as each weapon changes the way you play. Some favour close-range attacks, while others encourage a more defensive or ranged approach.

The game also successfully carries over one of the most enjoyable parts of the franchise, the feeling of becoming ridiculously powerful. Level grinding, upgrading equipment and improving weapons creates that familiar Disgaea satisfaction of watching damage numbers grow to absurd levels. The ability to strengthen equipment and push character power further gives players plenty of motivation to keep improving.

Fans of the series will also appreciate that the personality of Disgaea remains intact. The humour, colourful presentation and bizarre world design all feel familiar, even though the gameplay has changed. Classic elements such as recruiting demons like the Prinny help make this feel like a genuine part of the franchise rather than just a separate action game with a familiar name.

However, the biggest issue with Disgaea Mayhem is that it feels far too small for the Disgaea name. While the gameplay is enjoyable, the experience feels much shorter and simpler than many fans will expect. The main story can be completed in under 10 hours, which feels disappointing considering the usual depth and longevity associated with the series.

The lack of extra modes and meaningful post-game content is another major weakness. Traditional Disgaea games are known for offering huge amounts of additional content once the main story is complete, but here the experience feels much more limited. Once the main adventure is finished, there is not a great deal left to keep players coming back.

The hack-and-slash combat is fun, but it can become repetitive over time. The mission structure does not always offer enough variety, and fighting through similar groups of enemies repeatedly can start to lose its appeal. Having only one playable character also limits the experience, especially compared with the huge variety of characters and play styles usually available in the franchise.

This is where the price becomes difficult to justify. At around £49.99, Disgaea Mayhem feels more like a smaller budget spin-off rather than a full-priced release. The core gameplay is enjoyable, but the short length and limited content make it difficult to recommend paying the full asking price.

After a slightly rough start, Disgaea Mayhem eventually won me over. I have never been a huge Disgaea fan, mainly because the tactical RPG style could sometimes feel overwhelming, but this action-focused approach made the series much easier to enjoy. It keeps the humour and charm while offering a more straightforward experience.

There is definitely fun to be had here. The combat is flashy, the weapon variety is enjoyable and powering up your character delivers the satisfying feeling of becoming unstoppable. The problem is that the adventure ends far too quickly and does not offer enough content to match its launch price.

Disgaea Mayhem is a fun spin-off that introduces the franchise to a wider audience, but it is best enjoyed when bought during a sale or after a price reduction. At the right price, it is an enjoyable action RPG with plenty of personality.

Score: 7.5 out of 10

Deluxe edition available from Amazon at https://link.amazon/B0fmDLacD

NEWS: Rayman Legends Retold Brings Ubisoft’s Platforming Icon Back This October

Images Courtesy of Ubisoft Press

By Jon Donnis

Ubisoft has unveiled Rayman Legends Retold, a reimagined version of its acclaimed platforming adventure, during Sony's latest State of Play presentation.

The new title is scheduled to launch on 1 October for PlayStation 5, Xbox Series X|S, Nintendo Switch 2, PC, Ubisoft+, GeForce Now and Blacknut, giving players across multiple platforms the chance to revisit the colourful world of Rayman.

Developed by Ubisoft Montpellier and Ubisoft Milan, Rayman Legends Retold revisits the 2013 classic while introducing a fresh story, upgraded visuals and fully voiced cinematic sequences. The adventure sees Rayman and his companions returning to the Glade of Dreams, which has once again fallen under threat from a mysterious force spreading disorder across its many realms.

Players will be able to take control of familiar characters including Rayman, Globox, Barbara, Grand Minimus and Murphy. The game supports solo play as well as local co-operative action for up to four players.

According to Ubisoft, the new release expands on the original experience with an entirely new sixth realm, additional boss encounters and a host of hidden Teensies waiting to be rescued. Classic platforming mechanics return, allowing players to run, leap, glide and battle their way through a variety of imaginative environments.

"Rayman Legends Retold is our way of revisiting what makes Rayman so special, and re-telling that experience for a new generation of players," said Brand Producer Loïc Gounon. "We wanted to preserve everything fans love, and Legends gave us the perfect foundation to expand Rayman's lore, its world logic, and how everything connects together."

Alongside returning content, Ubisoft is introducing several new gameplay features. Players can tackle four original musical stages, soar through levels on dragon rides and test their abilities in the Cave of Trials. The Glade of Dreams itself has also been redesigned, featuring new encounters and additional secrets to discover.

Competitive mini-game Kung Foot is making a return as well, this time with refined controls, new power-ups and custom rule options aimed at extending its multiplayer appeal.

Music remains a major part of the Rayman experience, with the soundtrack blending returning fan favourites alongside newly composed material from Christophe Héral and Grant Kirkhope.

Rayman Legends Retold will be available from £39.99 for the Standard Edition. Ubisoft has also confirmed that every edition available for pre-order will include the Hoodlum Havoc Pack, featuring Rayman and Globox costumes inspired by Rayman 3: Hoodlum Havoc.

The Standard Edition includes the base game and Rayman Origins: Enhanced Edition, an updated version of the original adventure featuring 4K resolution, 60 frames per second gameplay, additional collectibles and several quality-of-life improvements.

A digital-only Deluxe Edition will add the Retro Pack, containing four character costumes, alongside a digital art gallery. Retail buyers will also have access to a Launch Edition, which includes a printed Glade of Dreams map, a set of three lithographs and a collectible slipcase.

With new content, visual upgrades and expanded lore, Ubisoft is positioning Rayman Legends Retold as both a nostalgic return for long-time fans and a fresh starting point for a new generation of players.

Pre-Orders are open now! https://amzn.to/4vqEGWA