That VideoGame Blog
REVIEW / Demonschool (Switch)

I remember attending an event in 2023 where I played a short demo for Demonschool.

The post REVIEW / Demonschool (Switch) appeared first on That VideoGame Blog.

Surviving the apocalypse has never been so relaxing as in this excellent mix of survival game and city builder, set on a waterlogged future Earth.

The post-apocalypse is a famously popular setting for video games. From Fallout’s survivalist role-players to the harrowing events of The Last Of Us, game makers have long been drawn to the idea of a world reset, primed for reimagining. And, naturally, such games tend to be rather gloomy affairs.

Not so Flotsam, which might be gaming’s most cheerful take on life after the end of everything. Finally released as a full game, following years in early access, Flotsam is set in a world almost entirely flooded, where a handful of small islands and building tops make up the remaining landscape. The population appears reduced to almost nothing, and there is next to nowhere left to grow food.

And yet developer Pajama Llama Games’ creation welcomes you to a place of glorious weather, rolling blue seas, oceanic beauty, and an optimistic effort to build a community and thrive.

The heart of the game is your new home: a plucky, pootling boat that you constantly expand with walkways, pontoons, and floating structures, until you find yourself piloting a vast, self-sufficient floating village. Everything you use to build that undersized empire will have to be pulled from the waves or constructed onboard. Which brings us to Flotsam’s other half, where you explore a vast map, scavenging for supplies and welcoming new survivors to your community.

When it comes to the fundamentals of building out a prosperous settlement with a functioning and balanced ecosystem, things are broadly comparable to the likes of classics such as SimCity; although in the case of Flotsam the focus is on the finer details of producing food, building housing, and workshops, purifying water, and keeping your residents happy and healthy.

So, where SimCity might have asked you to place an entire industrial region in a single click, in Flotsam the level of detail demands you have the correct ingredients for meals, enough wood dried and shaped to build your next extension, and all manner of other considerations.

That might make things sound like rather too much of a mundane chore list, but so brilliantly balanced are Flotsam’s systems that the game is deeply captivating and rewarding. Constantly working to keep going has never felt quite so wonderful. There’s an intimacy to the detail that really connects you with your floating home, making you really care about its survival.

Flotsam is a very hard game to put down, because there’s always a few more things you can do to improve your settlement. And with those tasks completed you’ll open up yet more ways to make your home a little more efficient, beautiful, or capable.

The game’s core loop sees you hopping back and forth between the map screen – where you’ll direct your boat to points of interest – and the zoomed in world screen where you scoop up resources, scavenge islands for everything from food to metal scraps, set your inhabitants to work, and maintain and expand your boat.

After that, you can hop back to the map and let everyone carry on as you navigate. Early on, you’ll focus on gathering plastic and wood from the sea, to build the likes of storage areas and your first homes and workshops. Initially the workshops let you dry salt water-drenched driftwood, cut planks to shape, and form plastic into simple building materials. In the opening hour you might also craft a water purifying tower or expand a network of jetty-like pathways that let your residents – known as drifters – get about their work.

In time, you’ll even construct your own humming power network, schools, areas for rest and recreation, seaweed farms, smaller fishing and scavenging boats, and specialised workshops that create food, rope, firewood, and much else besides – all of which will have to work in balanced harmony.

That harmony is yours to orchestrate. The Pajama Llama team’s greatest achievement, in the case of Flotsam, is making that effort a wonderfully relaxing, gentle, interesting experience, without watering down the wider genre’s complexity and nuance.

Nevertheless, Flotsam could do with having its tutorial integrated into the game’s opening, rather than existing as a separate entity. The opening chapter of the Flotsam experience does give you nudges in the right direction, but you might find yourself momentarily bewildered by an inability to source a certain material or reaching for your phone to search how a system works (and fortunately, there is plenty of information online, thanks to the game’s years in early access).

You’ll soon feel entirely in control though, a master of your floating future. Because the systems in Flotsam make such plain sense, and because of that close-up level of detail where you can see seaweed fluttering in the wind on racks and dried wood being carried to the sawmill. Despite its imperfect onboarding, Flotsam is the ideal game if you’ve always wanted to crack the city building genre, but never really found your gateway.

If you’re a genre obsessive, things might feel a little familiar in terms of the process of building out that bustling ecosystem. And yet the addition of the exploration and survival element should give you a taste of something distinct. And whatever kind of player you are, you may well long for more elaborate quests and missions, or maybe in-narrative events that drastically shift the dynamic of strategies you deploy. Still, even without those things, there are many, many hours of pleasure to be found in the waters of Flotsam.

The process of scooping up new survivors and integrating them into your community is always delightful, too. Rather than fuss over the fate of a city of millions, in Flotsam new recruits never arrive in crowds. Many hours in, you might still be able to count your populace on two hands – or maybe three. Again, Flotsam has a marvellous sense of knowing the world you build at an individual level, right down to the names of each resident.

The overall result is one of the most rewarding and charming city builders of recent times. The emphasis is almost always on progress, success, and community, and while you do have to knuckle down to the serious business of keeping Drifters fed, watered, and content, rarely is Flotsam a game about struggle or failure.

It wants you to do well, and that is a pleasure to experience. Even if you do squeeze yourself into a resource bottleneck, where your stores are full and you don’t have what you need to build a way forward, the solutions are always straightforward and typically immediate. Flotsam doesn’t patronise or keep things too easy; rather, it makes facing its challenges a joy.

And when that joy plays out over a blue and pleasant land, where people are collaborative and kind, it makes Flotsam a very nice place to escape to, even if a global disaster has struck. It is still a post-apocalyptic world, where survival dominates your every thought, but saving the future of humanity has rarely been so playful. And play is what video games are meant to do well.

Format: PC
Price: £19.99
Publisher: Stray Fawn Publishing
Developer: Pajama Llama Games
Release Date: 4th December 2025
Age Rating: N/A

Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter.

To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here.

For more stories like this, check our Gaming page.

Square Enix’s retro-inspired role-playing game series gets a prequel but does this new HD-2D title justify its lengthy running time?

Octopath Traveler 0 is an odd contradiction as a video game. On one hand, it’s intriguingly novel as, in Square Enix’s own words, it ‘is inspired by story elements and gameplay ideas’ from ongoing mobile prequel Champions Of The Continent, with all the free-to-play elements stripped out in favour of a more traditional, premium experience.

On the other hand, though, it is a disappointingly safe follow-up to the original Octopath Traveler from 2018 and its 2023 sequel, seemingly intent to stick to what it knows, with very few new ideas or innovations to make it truly stand out.

This highlights a problem when it comes to critiquing video game sequels that rigidly adhere to the formula of their predecessor. If it’s more or less the exact same game, but that previous game was good to begin with, is it fair to condemn it for its lack of originality when by all accounts it’s still fun to play?

As we explored in our preview, Octopath Traveler 0 will feel like returning home for established fans; where everything’s exactly as you remember it, except there’s a new air fryer and some of the sofa cushions have been replaced.

The turn-based battles work identically, as you break enemies’ shields by targeting their weaknesses and spend boost points to increase the damage of your attacks. We’ve always praised the battle system for how tactical it is, and the amount of freedom offered in how you build your party, which is only accentuated by the fact that you now have up to eight characters at once in a fight.

They’re divided between a front and back row, with only those in the front able to perform actions, but they can be swapped with whoever’s placed behind them where they’re safe from enemy attacks. This means positioning is just as important as who’s in the party and when combined with the more than 30 characters available to recruit, there’s a lot of room for experimentation.

We wondered if eight-man parties would make battles too overwhelming, but since each party member has their own distinct role, it’s easy to memorise who can do what. Even those that share job classes are built in different ways. For example, Phenn and Delitia are both hunters, but whereas Phenn is a tank who draws enemy aggro, Delitia focuses on attacks that lower the target’s stats.

There’s no multiclassing this time, but the game makes up for that by letting you acquire extra equippable skills, allowing party members to use attacks or passive abilities they can’t learn otherwise, to cover blind spots in your strategy.

It is immensely satisfying seeing your efforts pay off during boss battles. The random enemy encounters should rarely give you trouble as long as you’re sufficiently levelled, but boss fights are consistently tough, with each having their own strategies to contend with, like changing their weaknesses or inflicting status ailments that can only be removed by breaking their defences. They also hit like a stampeding rhino, so having eight party members instead of four doesn’t give you the advantage you might imagine.

However, this is all par for the course for this series. Even the story structure is the same, with multiple story routes to pursue that are all seemingly unrelated but start to come together by the end. Instead of playing as one of eight protagonists with their own storylines, though, you control only a single, customisable character.

The pixel art graphics mean character customisation isn’t super deep visually, when compared to something like Elden Ring, but it’s a neat novelty all the same, that almost makes us yearn for a dedicated Octopath tabletop game. No options are gender locked and you get to give them a little backstory that determines their starting skills and even their favourite food. And while you can go the whole adventure with only one of the available eight job classes, you can eventually unlock the remaining seven.

Unfortunately, in cut scenes, your character is completely mute, which means they’re devoid of personality and require other characters to explain how they’re feeling in any given situation. Ironically, despite being the fabled chosen one, they often feel like a glorified extra in other peoples’ stories, even when chasing after the villains responsible for their hometown’s destruction.

Speaking of, Octopath Traveler 0’s most distinguishing gimmick is getting to rebuild the town from scratch, which serves as its own storyline. You’re initially very limited in what you can build and where, but it’s quite layered since you can add plenty of cosmetic flourishes and even alter the terrain.

It’s well worth spending time on, since not only do your options drastically open up over time, you can invite villagers from other towns who, when housed, will regularly supply items or money. Plus, you can build facilities such as a ranch for gathering ingredients to cook stat boosting meals and a training ground to keep your benched party members levelled up. The game is also kind enough to tell you where you can gather the specific resources needed when you want to build something, which is quite the time saver.

That said, Octopath Traveler 0 is still a huge time sink. Between the different storylines, rebuilding the village, and multiple side quests, it will take hours (over 100 according to Square Enix) to see everything. This is a double-edged sword, since even after 60 hours we were growing exhausted, as so much of the story follows the exact same structure.

Nearly every chapter involves simply going through a small dungeon and fighting a boss at the end, with a visit to a new town thrown in occasionally, which is precisely what the last two games did as well. Twice we thought we had approached the end, only for the game to throw another story quest at us.

It doesn’t help that none of the storylines are particularly compelling. They have their moments, but we struggled to be invested in any of them when they’re filled to the brim with age old cliches, overwrought voice-acting, and nuance-free villains. There’s nothing necessarily wrong with one-note bad guys who are fun to hate, but the game goes to such extreme lengths to highlight how evil they are, it becomes more comical than horrific.

Anyone who just wants more Octopath Traveler will be plenty satisfied with Octopath Traveler 0 since, at its core, its functionally identical to what came before. But after three games with barely any innovation or meaningful changes to the formula, the series already feels like it’s running on fumes and is either incapable of evolving beyond one-game gimmicks or stubbornly refuses to step out of its comfort zone.

Even the HD-2D graphics, while still pretty (the sprite work for bosses is a highlight), have long lost their novelty now that Square Enix has made so many other games with the same engine. What was once a delightful nostalgic throwback has ironically become old hat.

It wouldn’t be a bad thing if Octopath Traveler 0 led to more mobile games being reimagined as traditional console/PC releases, devoid of microtransactions and gacha mechanics, particularly ones that have since shut down like NieR: Reincarnation. However, it’s just as likely that any success Octopath Traveler 0 sees will only encourage Square Enix to pump out another safe sequel.

Octopath Traveler 0 is by no means a bad game, and retains everything we like about the series, but apart from the lack of innovation it’s very repetitive and unnecessarily bloated. If the series is committed to staying in the past then we fear it’s only a matter of time before even the most avid fans start to tire of playing the same game over and over again.

Formats: Nintendo Switch 2 (reviewed), PlayStation 4, Nintendo Switch, Xbox Series X/S, PlayStation 5, and PC
Price: £49.99
Publisher: Square Enix
Developer: Square Enix and DokiDoki Groove Works
Release Date: 4th December 2025
Age Rating: 12

Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter.

To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here.

For more stories like this, check our Gaming page.

Alien Isolation has a rival for spookiest retro sci-fi survival horror in this impressively atmospheric thriller from a new indie studio.

Sci-fi horror game Routine was originally announced at Gamescom way back in 2012. Since then, it’s popped back up a couple of times, only to head back into the thick fog of development hell, its tiny team attempting, and failing, to get it into a state where they could aim for a final release. The breakthrough came after signing a deal with Raw Fury, a publisher renowned for their supportive and collaborative attitude towards the developers they work with.

With more focus and a little more budget to work with, and after an almost unbelievable 13-year gestation period, Routine is finally here and while it’s clearly a first person survival horror, its look, feel, and puzzles are unlike anything else in its genre. That starts with the setting, which is a deserted moonbase in the near future. However, unlike most sci-fi milieux, this one’s free of any hint of glamour.

At the beginning of the game, you wake up from a distressing nightmare to find yourself locked in a windowless room, the quiet hum of machinery accompanying your confusion. There’s an old monochrome monitor built into the wall, where you can access a couple of email messages, along with an austere looking bed and lavatory. It’s more like a cell than a bedroom, a sense heightened by the fact that you can’t get out.

The walls, ceiling, and floor are made of metal that’s seen better days. Scuffs, dents and missing flecks of paint make it look old and well used, and there’s a pile of bin bags in the corner. It perfectly nails the industrial space trucker aesthetic of Dark Star or the original Alien film, in its sense of being lived in but not cared for. That’s particularly important because you’re going to be seeing it from very close up.

The first thing you learn in your cell is how to stand on tip toe, crouch, lean, and lie completely flat. Each movement is accompanied by your character’s involuntary grunts as you make him stand, squat, and crawl about on the floor, the motion of your point of view and the stunning detail of the environment creating a gritty realism that extends to un-collected litter and detritus, that’s accumulated in the gap underneath the metallic wall-hanging cupboards and infrastructure.

As you find your way round the room, what initially appeared to be almost completely featureless actually turns out to be loaded with information. You’re an IT technician hired by Union Plaza’s lunar operation to debug their malfunctioning security system, and without further instruction you’ll need to work out what you have to do to find a way out of this claustrophobic little space. It’s perfect training for the rest of the game, which continues in its steadfast refusal to lead you by the hand.

If you’re weary of quest markers and HUD bloat, Routine is the antidote. Its entire overlay consists of a single tiny white circle that only appears when you’re pointing directly at something you can interact with. Apart from that, you’re on your own. Quite literally as it turns out, because other than a distorted, malfunctioning welcome message played over crackling speakers, the place is desolately empty.

Your only help comes from a C.A.T., or Cosmonaut Assistance Tool. It looks like a chunky plastic 1980s camcorder, complete with laggy analogue screen on the back that updates fractionally after you move it, delivering a flawless impression of dated technology. Initially it doesn’t seem to do much, but after a little experimentation you find out that it combines a PDA that’s only available near specific wireless access points, with the ability to short circuit electrical systems.

To make your way through the godforsaken depths of Union Plaza, you’ll need to pay extremely close attention to your surroundings, trying things out and extrapolating from subtle cues. In most games if you needed to find a fuse box to open a jammed bulkhead, you’d follow a waypoint to a brightly coloured box with a lightning symbol on it. That’s not how Routine works, making it feel far more like being stuck in an actual abandoned commercial facility. Progress feels hard earned and significant.

It’s also impeded by the security system you’re there to repair, which has erroneously gone into lockdown mode. Along with sealed doors and key code secured lifts, you’ll find the facility patrolled by Type-05s. They’re humanoid robots that look like the Terminator without its human skin, their aggressive metallic stomping signalling their approach and departure. They’ll often just stop and power down, sometimes facing a wall, before starting up again without warning and continuing their patrol.

If one spots you, they’ll walk towards you at that same brisk but relentless pace, leaving you to scurry away and try to find a hiding place. Pointing your C.A.T. at one and pulling the trigger stuns it, but only for a second or two, after which it simply resumes its pursuit. The other bad news is that at full charge your C.A.T. has three shots, and while you can find new batteries you have to search for them.

The atmosphere of dread it manages to create is enhanced by exceptional sound design. The clank of the Type-05s is accompanied by whining servos and humming clicks as they project laser grids on floors and walls, digitally scouring your last known location. Doors swish shut, their motorised travel accompanied by seals that lock into place, followed by a dampening of the soundscape in the newly constricted space you occupy. Along with your character’s ragged breathing, and the sensation of peeping around the weathered metal of a doorframe as you try and spot a pursuing robot, it evokes a real sense of being there.

Nervously making your way past the discarded VHS tapes, ‘Final price cut!’ banners, and tawdry ‘Megazone’ arcade in Union Plaza’s mall, you soon find out there’s far worse to come as you descend into the bowels of the facility. The elegiac email conversations you uncover reveal a spreading sickness amongst the staff and you wonder where everyone is, and why the head of security’s been drawing so many pictures of flowers. You soon come to yearn for the relative security of those early scenes.

Routine’s strength is the ambience its near photorealistic visuals and immaculately crafted sound design create. Its weakness is that the stubborn refusal to help can leave you stuck for longer than you might like. In a single room. with nothing trying to disembowel you, that’s an interesting conundrum but later on, in more open parts of the complex, it can be frustrating trying to figure out what tiny thing you’ve missed, and where exactly it might be.

Still, for a game so long in development this is a frightening, idiosyncratic, and impressively coherent slab of sci-fi survival horror. Announced just before Alien Isolation was released, you can see some of its inspiration here, but Routine’s more robust puzzles and multiple pursuers make it a more varied experience, while its mise en scène, glorious diegetic sound effects, and the humanistic motion of your character create an unsettlingly authentic sense of presence it in its terrifying world.

Formats: Xbox Series X/S (reviewed), Xbox One, and PC
Price: TBA
Publisher: Raw Fury
Developer: Lunar Software
Release Date: 4th December 2025
Age Rating: 16

Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter.

To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here.

For more stories like this, check our Gaming page.

After a wait of 18 years there’s finally a new Metroid Prime game on Nintendo Switch, but will it live up to the hopes and expectations of its fans?

We feel certain that Metroid Prime 4 is going to make a lot of people very angry. It is not a great game, but it is certainly not a terrible one either and while at times it barely resembles a Metroidvania at all, we did have a lot of fun with it. However, it may be party to some of the most baffling design decisions we’ve ever seen in a Nintendo game, and we’re not just talking about Myles MacKenzie.

What makes this belated sequel so peculiar is that the most controversial elements are so very obviously not what long-time fans would want, such that their presence almost feels like a form of trolling. Many will, not unreasonably, accuse the game of being dumbed down but it still doesn’t seem like something that is likely to attract a mainstream audience, in what should’ve been a clear-cut case of giving fans what they want or just not making the game at all.

We’ll discuss Beyond on its own merits – which are many and interesting – but we’ll warn you now that if you’re a veteran Metroid Prime fan this is not the game you were hoping it would be.

Although it’s been a long time since a new Metroid Prime, there has been the more recent Metroid Dread, which is an excellent example of the original 2D style of the franchise. There was also Metroid Prime Remastered in 2023, which was so good it almost felt like a full remake – which is no less than it deserves, as Metroid Prime 1 is one of the few games we’d consider almost literally perfect (Super Metroid on the SNES is another).

The genre name of Metroidvania is a portmanteau of Metroid and Castlevania, although that’s always flattered Castlevania’s input. Metroid is the true root of the concept, of an action platformer where progress is regularly blocked until you have a specific tool or weapon. This often necessitates a lot of backtracking and careful exploration, as you learn to use your increasing range of abilities in unusual ways.

Apart from being first person, the Metroid Prime games have all worked in that same way and at first it seems as if Beyond will as well. After a brief introductory level, the first main area of the game is very reminiscent of the forest section at the start of Metroid Prime 1. At that point we began to assume that Beyond would follow the pattern of many other belated sequels and simply rehash the first game.

To a degree that is what happens, as there are very few genuinely new ideas or gimmicks here. You gain psychic powers early on, but this really doesn’t amount to anything other than having the word ‘psychic’ before traditional abilities like psychic grapple or psychic spider ball (for crawling up surfaces when you transform into a morph ball).

You can detect otherwise invisible platforms and perform very limited telekinesis with motes that power machinery, but these moments are rare and involve no skill or problem-solving. In fact, there’s very little in the way of substantial puzzles at all. There are obstacles but they never stretch or test you in the way the older games did. The only thing that comes close is the new control beam, whose projectiles you can control remotely, but after being introduced early on it’s barely ever required again.

Beyond’s troubled development is well documented, with the game having restarted development from scratch in 2019, but the final product gives every impression of having been patched together from multiple different versions. There’s nothing to suggest that’s actually what has happened, but it’s what it feels like.

Once you get out of the nostalgia heavy first area you then emerge into an open world desert which is filled with… almost nothing at all. There’s a (very small) handful of temples to power up your elemental beam weapons, and some ruins you have to explore before the final battle, but most of the desert is completely empty, with only a few listless enemies putting in an occasional appearance and who often disappear before you can finish them off – as if they find the area boring too.

This is a shame because the motorcycle you use to traverse the desert is a lot of fun to ride, with wonderfully bouncy suspension, but there’s nothing to do with it but drive in a straight line to where you’re going next. And while at first it seems like you can progress through the game in a non-linear fashion your options are far more limited than they first appear, as you explore each area more or less in turn.

If this is all starting to sound bad, we haven’t even got to the most controversial aspects yet. Metroid has never had much in the way of complex plots, but this one is especially simple. Basically, you’re stranded on an alien planet and you need to get five keys to get home. And that’s it.

Sylux, who Nintendo has been hyping up for years as a deadly rival to series protagonist Samus Aran, barely appears in the game under normal circumstances, just a little at the beginning and the end, and says maybe three sentences in total, none of which explain who he is or what he wants. If only everyone else in the game was as laconic though, as throughout the game – basically one per area – you meet a new ally who absolutely will not stop talking.

Myles MacKenzie, who proved so controversial in the previews, is the first and most annoying but one of the others is a pair of soldiers who escort you through almost the entirety of one of the areas, leaving no doubt as to where exactly you have to go. That’s nothing compared to the final full level though, which is completely linear, with almost no Metroidvania elements, and has the whole crew following you along for most of it.

For those not familiar with Metroid, one of the key appeals is its melancholic atmosphere and sense of isolation (the original was heavily influenced by the film Alien – to the point where one of the main bosses was called Ridley), which Beyond purposefully takes a hatchet too. If you sat down and timed it, you are on your own for the majority of the time but it doesn’t feel like it, especially when Myles, who remains your main contact, is making unwanted suggestions about what to do next on the radio.

And yet that penultimate level is actually very entertaining. It begins to take on an almost horror movie tone, as you’re pursued by hordes of monsters and the game seems to be trying to channel the film The Descent, of all things. It never comes close to exceeding its 12 age rating but it’s neatly handled and there’s some interesting plot developments that, predictably, the game undoes immediately, but which do hint at the more serious narrative it could’ve been.

One of the greatest frustrations is that the game could’ve worked with the set-up it has, except one of the primary problems is that the script and voice-acting is so basic, almost like an 80s children’s cartoon. It’s so unsophisticated you never for one moment think of the characters as actual people.

That includes Samus, who is kept mute the entire time. This seems to be in imitation of Link, but it doesn’t make sense in context. Link does talk in the Zelda games, you just don’t hear him: all the characters talk as if he’s just replied to them and it’s left to you to imagine what he said. Samus just nodding at people, or outright ignoring them, in Beyond makes her look incredibly rude or as if she physically can’t speak.

Beyond is such a muddle of good and bad ideas that even now we’re not sure what to make of it. It has some great boss battles but while there’s technically dozens of creatures in the game only one is persistently aggressive and is used so often, with minor variations, it feels like the only enemy.

The simplified exploration and puzzle-solving is so strange, given that not only did Metroid Dread not pull its punches but it was the most successful entry in the franchise so far. Beyond gives the impression of being purposefully dumbed down to reach a wider audience and yet the game has virtually no checkpointing – so you can easily lose 30 minutes of progress if you get caught out – and there’s no fast travel at all.

Retreading your steps in the opening area was beginning to turn us nuts so we can only imagine how newcomers are going to respond to it. They may be drawn in by the graphics at least, which considering this is a Switch 1 game at heart are exceptional. The Switch 2 version looks great and while the mouse aiming controls are purely optional, they do frequently come in handy, especially in some of the trickier boss fights.

When the game works it works well and Beyond makes a convincing argument for a more action-orientated spin-off series, with enjoyable action, well-designed levels, and impressive visuals. The problem is that this isn’t a spin-off, it’s a numbered sequel to one of the most critically acclaimed games of all time.

Why Nintendo is purposefully trying to rile up fans, of what has always been a relatively niche franchise, we do not know. It’s been a long wait for Metroid Prime 4 and while the end result is fairly entertaining the fallout from its release is likely to be anything but.

Formats: Nintendo Switch 2 (reviewed) and Nintendo Switch
Price: £49.99/£58.99
Publisher: Nintendo
Developer: Retro Studios
Release Date: 4th December 2025
Age Rating: 12

Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter.

To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here.

For more stories like this, check our Gaming page.

The publisher behind Streets Of Rage 4 and Teenage Mutant Ninja Turtles: Shredder’s Revenge returns with the greatest Marvel beat ‘em-up ever made.

Video games don’t need to be complicated to be fun or worthwhile. There’s equal artistry at play in making a good game out of a concept with only limited interactivity, as you can plainly see when comparing arcade lightgun games, 2D shooters, or the currently en vogue scrolling beat ‘em-up.

Thanks to indie developers, the idea of strolling left to right across a 2D level, punching and kicking everyone in your way, has never entirely disappeared from the video game landscape, especially as it’s never really had any kind of modern 3D equivalent. Although the genre’s current popularity is almost entirely down to one company: French publisher Dotemu.

They were behind the excellent Streets Of Rage 4 and the slightly disappointing Teenage Mutant Ninja Turtles: Shredder’s Revenge. The developer of the latter is also making this, but while their previous work was shallow even by the standards of the genre, Marvel Cosmic Invasion is about as complex as the concept can really get, without overcomplicating things. And it’s a ton of fun whether you care about superheroes or not.

They’re not usually clearly delineated but Marvel (and DC) has different levels of superhero intrigue, from fighting bank robbers with street level characters to sci-fi adventures in space and battling godlike beings in the cosmic side of the universe. This game primarily deals with the sci-fi middle ground, with the main villain being the insect-themed Annihilus. His incursions on Earth and other planets leads to a team-up of many different Marvel heroes, with up to four people playing at once.

We wouldn’t claim to be Marvel Comics experts, but the line-up does seem slightly odd, as there’s a lot of characters we wouldn’t associate with cosmic Marvel at all, like Wolverine and Iron Man, but it’s completely missing any of the Fantastic Four, Inhumans or Eternals. The Guardians of the Galaxy representation is also very limited, and while technically there is a Captain Marvel, in the form of Phyla-Vell, there’s no Carol Danvers. In comic books everyone goes into space at some point, but this does seem a borderline random selection of playable characters.

What’s great about the line-up is that all the characters are impressively varied, with some that can fly and all of which have different types of dodge or block moves. Their standard punches and kicks are all different, but there’s also a character specific hero attack (which can usually be charged) and a special move that can only be activated when you have enough focus.

So, for example, Captain America’s shield works great at blocking and countering, but is also super fun to ping between multiple enemies at once. Rocket Raccoon’s hero attack is an increasingly large gun, depending on how long you hold down the button, while She-Hulk has a wide area of attack for her various wrestling moves. Meanwhile, Phoenix can telekinetically draw enemies towards her, before she gets her punches in, and Beta Ray Bill (Thor’s alien pal) is the tank-like bruiser of the group.

Compared to a one-on-one fighting game it’s still simple stuff but for a beat ‘em-up it’s surprisingly involved and enough so that you’ll be picking characters based on their abilities, and not just what they look like. You actually choose two characters whenever you start and can tag team between them at any point, either to give them a chance to heal a recoverable portion of health or to unleash team-up attacks.

The game is very obviously inspired by the early Marvel Vs. Capcom games, with a similar 2D art style and as many cheeky nods as it can get away with. Although various other classic beat ‘em-ups also get references, such as beating up goblin-like enemies with a sack over their shoulder to get power-ups, just like Golden Axe.

Each level has three Achievement-like objectives to complete, such as making use of a specific character’s move or navigating a section of the level without getting hit, that both adds an extra challenge and helps to teach you the nuances of each character’s abilities.

The graphics are fantastic throughout: even better than Shredder’s Revenge and all the more impressive for the constantly changing settings, from the high-tech streets of Wakanda to a very welcome trip to the dinosaur-filled Savage Land or a planet being ravaged by Galactus.

In terms of Marvel sightseeing, it’s near perfect and while the storytelling is extremely basic there’s some occasionally funny dialogue, such as when She-Hulk – who in the comics was breaking the fourth wall long before Deadpool – quips about all the monster cameos in one level.

Most of the enemies are bug-related, which threatens to get monotonous but is still much better than Shredder’s Revenge in that regard. What’s also different is that Cosmic Invasion can be fairly tricky. You need to keep your wits about you at all times, but the boss battles in particular are often quite hard.

This becomes a problem when playing on your own because there’s no checkpoints and since you probably won’t struggle with the normal scrolling sections the second or third time, it becomes a bit of a chore to wade through those only to get beaten by the boss again. That’s more a consequence of playing on your own than anything else, because if you’ve got co-op friends with you then you can divvy up the responsibilities, instead of having to do everything yourself.

Marvel Cosmic Invasion seems about as complicated as a scrolling beat ‘em-up can get without becoming something completely different (something like Absolum, in fact, which is also published by Dotemu but is more of a roguelike, with light role-playing elements). In terms of taking the original concept of a beat ‘em-up as far as it can go, this gets almost everything right.

It has lots of variety, a modicum of depth, and it can be picked up and played by anyone, no matter their gaming experience, within seconds. If Marvel Cosmic Invasion had been an actual arcade game, back in the 90s, we would’ve spent a silly amount of money on it. And there’s no greater compliment you can give a beat ‘em-up than that.

Formats: PlayStation 5 (reviewed), PlayStation 4, Nintendo Switch, Xbox Series X/S, Nintendo Switch 2, and PC
Price: £26.99
Publisher: Dotemu
Developer: Tribute Games
Release Date: 1st December 2025
Age Rating: 12

Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter.

To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here.

For more stories like this, check our Gaming page.

That VideoGame Blog
REVIEW / Bokura: planet (Steam)

When I was a teenager, my younger brother used to pester me. Constantly. If I

The post REVIEW / Bokura: planet (Steam) appeared first on That VideoGame Blog.

That VideoGame Blog
REVIEW / Tormented Souls II (PS5)

In the interest of fairness, let me be honest: I never played the original Tormented

The post REVIEW / Tormented Souls II (PS5) appeared first on That VideoGame Blog.

That VideoGame Blog
REVIEW / Platypus Reclayed (PC)

Something that makes reviewing difficult is that we can’t see what any given player is

The post REVIEW / Platypus Reclayed (PC) appeared first on That VideoGame Blog.