New Game Preview

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Get a sneak peek at the most anticipated games of the year. From action-packed adventures to mind-bending puzzles, we've got something for everyone. Stay ahead of the game with our exclusive previews!

Masters of Albion Early Access Preview – God HandFable and Black & White creator Peter Molyneux is back with a new god game. One that has undeniable charm, despite some clear improvements that need to be made.

Previews – CGMagazineApr 22

D-Topia Preview – Paradise LostD-Topia is a subversively cozy narrative adventure that immediately sets up a gripping premise. Leaving us eager to see more.

Previews – CGMagazineApr 22

The Expanse: Osiris Reborn plays like a Mass Effect-like sci-fi adventure in fine form, but its developer's use of AI raises some difficult questions The Expanse: Osiris Reborn caused a commotion when it was announced. That's in part because it looked like a modern Mass Effect , which always tends to be taken as a good thing, and because it's an adaptation of a well-known and well-liked science-fiction property in The Expanse. What's more, it comes from a studio with role-playing pedigree, Owlcat Games, the creator of the Pathfinder CRPGs and, more recently, Warhammer 40K: Rogue Trader, a delightfully crunchy and dense CRPG . Read more

Eurogamer.net Previews FeedApr 22

Yoshi And The Mysterious Book Preview – Science By Way Of Tonguing StuffNintendo’s most lovable dinosaur is starting a career in ecology The post Yoshi And The Mysterious Book Preview – Science By Way Of Tonguing Stuff appeared first on WellPlayed .

Preview – WellPlayedApr 22

Petit Planet Hands-On Preview: HoYoverse Space Life Sim GoodnessGalaxy feels.

Previews – KakuchopureiApr 21

Soulframe: The Secret To Digital Extremes’ Live-Service Success Is Keeping ‘The Amount Of Public Scrutiny As High As Possible’ If you haven’t watched NoClip’s excellent two-part documentary about Digital Extremes’ sci-fi MMO shooter, Warframe , I highly recommend doing so. For the purpose of this story, that documentary is a great primer for the struggles the studio endured leading up to the launch of Warframe. But now, more than a decade and some change later, Warframe is still kicking, breaking its own playercount records as recently as last year. The secret to that success, and the success Digital Extremes has found thus far with Soulframe , is keeping the amount of public scrutiny as high as possible, according to Digital Extremes CEO Steve Sinclair, who is also highly involved in the development of both MMOs. “I think you guys probably have seen, even this year, really big table stake things coming out without necessarily facing sustained criticism, sustained engagement, and then imploding quickly,” Sinclair tells me. Highguard shut down the same week I visited Digital Extremes for this Game Informer cover story . “And the table stakes are so high, the investment, the dollars are so eye-wateringly large, they can’t, they don’t have enough runway to try and fix the problems.” Sinclair says that because Warframe was made in a year under the threat of impending layoffs, lost contracts with publishers, and ultimately, the possibility of Digital Extremes’ closure, it was designed for a specific audience. That paid off, as Warframe remains a success today. “And when we were starting Soulframe, I think there was a large degree of skepticism that you can even do that anymore, but I would argue that you can’t afford not to,” Sinclair says. “You can’t afford to have a server bash one weekend and then the next week, it will go out, and if it doesn’t work in one week, we can’t afford the servers, so we’re dead and we’re done. “And so everything that we’ve done is to try to keep the team as small as possible, to keep the amount of public scrutiny as high as possible, and to keep going through that cycle to test our theories against how our audience is going to react.” That method has worked for Warframe, but it remains to be seen if Soulframe will find the same success - that will depend on the community playing it today. And if you didn’t know, you can join that community by subscribing to Game Informer by April 22 because all subscribers will be receiving a Soulframe Preludes code to check out the game early! More information about codes can be found here . For more exclusive Soulframe insight, head to our hub here .

Game Informer PreviewsApr 17

Vindictus: Defying Fate Preview — Signs of a Stronger VisionVindictus: Defying Fate feels like it has finally started speaking in its own voice clearly enough to see the game that NEXON wants it to be.

Previews – CGMagazineApr 16

Metro 2039 Preview – Grim Fiction Inspired By Darker Realities Platform: PlayStation 5, Xbox Series X/S, PC Publisher: Deep Silver Developer: 4A Games Release: 2026 Rating: Mature The Ukrainian-based 4A Games, developer of the Metro series, has been through hell since releasing Metro Exodus in 2019. Like all of us, it endured the hardships of the 2020 COVID-19 pandemic. But unlike most of us, it had an unfortunate front row seat to watch its country become embroiled in a brutal – and still ongoing – war with Russia. These experiences have profoundly affected the direction of Metro 2039, the fourth mainline entry in the post-apocalyptic first-person shooter franchise. If you’re new to Metro, the universe is inspired by the Metro series of novels by Dmitry Glukhovsky. The games largely take place in a post-apocalyptic Moscow, which, along with the rest of the world, has been destroyed by a nuclear war. Because of the nuclear fallout, much of humanity was forced to live in the city’s underground metro tunnels as dangerous mutated creatures inherited the irradiated surface. The series has been tonally heavy, but describing Metro 2039’s reveal cinematic as “dark” would be an understatement.   As shown during a special developer presentation today, the trailer begins with a soldier, his face hidden by an oxygen mask, exploring a dark forest as an authoritative voice from a nearby megaphone commands him to wake up, promising clean air and a bright future. Children’s crayon drawings litter the ground, and as he picks one up, a small, red-headed girl appears in front of him. The soldier suddenly finds himself bound in a sea of chains; he sinks into them like quicksand as the girl watches unfazed. The soldier then arrives near a train, as other soldiers pack lines of chained children into its cars. Horrified, the soldier chases the train as it begins to disembark, the panicked cries of its young passengers spurring him forward before a chain around his ankle pulls him to the ground. The man awakens in a subway tunnel to find an old woman who tells him that everything is always about him; the man vehemently refutes this while demanding to know the children’s location. The sky lights up as Moscow burns from the nuclear war that creates Metro’s wasteland. A destroyed classroom filled with rows of faceless, brainwashed children chanting “the enemy must be destroyed,” as blood seeps from what would be their eyes. The arrival of the Dark Ones, the mutated foes from previous games, prompts the man to open fire, but his target winds up being one of the kids he was trying to save. 4A Games states that Metro 2039 will be a hand-crafted single-player story-focused experience. The protagonist is known only as The Stranger, a reclusive soldier plagued by violent nightmares, and who 4A Games confirms will be fully voiced. He must embark on a journey to a place he swore never to return: the Metro, the underground network of subway tunnels most of humanity calls home. Why The Stranger must do this, and what made him promise never to go back to the Metro in the first place, is still a mystery. Previous Metro games explored humanity before and after the world collapsed, and the lengths people will go to survive one more day. Although Metro has always been a bleak window into the consequences of humanity’s shortsighted actions as a form of anti-war commentary, 2039’s tone is perhaps most informed by the real-life horrors 4A experienced during the Russia/Ukraine war. “Everything we had planned for the next Metro changed in 2020, and more significantly in 2022,” says executive producer Jon Bloch. Creative director Andriy Mls Shevchenko adds that the war with Russia shifted Metro 2039’s thematic direction to focus more on “the cost of silence, the horrors of tyranny, the price of freedom.” The team is doubling down on making choice and consequence matter. “We will go where the worst of humanity will be on full display,” says Schevchenko. Despite this direction, Ulmer clarifies that 4A does not want to romanticize or “make a theme park” out of the post-apocalypse. While the studio’s unique first-hand perspective of enduring the hardships of a real war – including the developer relying on battery generators for electricity and sheltering from rocket and drone attacks – will be reflected in 2039’s narrative, Shevchenko adds that this is still a Metro story. The game will mark a return to the tunnels of earlier games, though we don’t know if it will retain the more open exploration of Metro Exodus. A snippet of gameplay shows The Stranger exploring a richly detailed, bombed-out laundromat. Metro staples, like wiping grime off your protective visor, monitoring your wristwatch that displays your remaining oxygen, and listening to the familiar radiation ticker, are all present. An opening in the wall has allowed snow to partially blanket the room, burying the skeletal remains of humans and other creatures. As The Stranger goes to inspect a fresh body, he’s interrupted by the arrival of large mutants resembling werewolf-like moles. The Stranger bolts down an escalator, turning back only to take a single shot at his pursuer; like previous games, ammo must be scarce. The bullet barely registers as pain to the creature. It pounces on top of The Stranger, who must wrestle it to avoid getting his head ripped off by its gnashing, protruding teeth. The Stranger’s punch is reciprocated with a debilitating swipe by the mutant, and he manages a kick that provides just enough breathing room to lodge his knife through the mutant’s skull, killing it. The Stranger turns around to reveal he was at the doorstep of an underground shelter; soldiers pull him through the heavy doors, which close right before the other mutants can avenge their comrade. This brief gameplay section was impressively rendered and definitely has the hallmarks of what fans would likely want in a new Metro game. We’re excited to see this somewhat underappreciated series make a comeback, and while the subject matter won’t be for the faint of heart, we can’t wait to survive the horrors of its fallen world one more time.

Game Informer PreviewsApr 16

Metro 2039 Preview – Grim Fiction Inspired By Darker Realities Platform: PlayStation 5, Xbox Series X/S, PC Publisher: Deep Silver Developer: 4A Games Release: 2026 The Ukrainian-based 4A Games, developer of the Metro series, has been through hell since releasing Metro Exodus in 2019. Like all of us, it endured the hardships of the 2020 COVID-19 pandemic. But unlike most of us, it had an unfortunate front row seat to watch its country become embroiled in a brutal – and still ongoing – war with Russia. These experiences have profoundly affected the direction of Metro 2039, the fourth mainline entry in the post-apocalyptic first-person shooter franchise. If you’re new to Metro, the universe is inspired by the Metro series of novels by Dmitry Glukhovsky. The games largely take place in a post-apocalyptic Moscow, which, along with the rest of the world, has been destroyed by a nuclear war. Because of the nuclear fallout, much of humanity was forced to live in the city’s underground metro tunnels as dangerous mutated creatures inherited the irradiated surface. The series has been tonally heavy, but describing Metro 2039’s reveal cinematic as “dark” would be an understatement.   As shown during a special developer presentation today, the trailer begins with a soldier, his face hidden by an oxygen mask, exploring a dark forest as an authoritative voice from a nearby megaphone commands him to wake up, promising clean air and a bright future. Children’s crayon drawings litter the ground, and as he picks one up, a small, red-headed girl appears in front of him. The soldier suddenly finds himself bound in a sea of chains; he sinks into them like quicksand as the girl watches unfazed. The soldier then arrives near a train, as other soldiers pack lines of chained children into its cars. Horrified, the soldier chases the train as it begins to disembark, the panicked cries of its young passengers spurring him forward before a chain around his ankle pulls him to the ground. The man awakens in a subway tunnel to find an old woman who tells him that everything is always about him; the man vehemently refutes this while demanding to know the children’s location. The sky lights up as Moscow burns from the nuclear war that creates Metro’s wasteland. A destroyed classroom filled with rows of faceless, brainwashed children chanting “the enemy must be destroyed,” as blood seeps from what would be their eyes. The arrival of the Dark Ones, the mutated foes from previous games, prompts the man to open fire, but his target winds up being one of the kids he was trying to save. 4A Games states that Metro 2039 will be a hand-crafted single-player story-focused experience. The protagonist is known only as The Stranger, a reclusive soldier plagued by violent nightmares, and who 4A Games confirms will be fully voiced. He must embark on a journey to a place he swore never to return: the Metro, the underground network of subway tunnels most of humanity calls home. Why The Stranger must do this, and what made him promise never to go back to the Metro in the first place, is still a mystery. Previous Metro games explored humanity before and after the world collapsed, and the lengths people will go to survive one more day. Although Metro has always been a bleak window into the consequences of humanity’s shortsighted actions as a form of anti-war commentary, 2039’s tone is perhaps most informed by the real-life horrors 4A experienced during the Russia/Ukraine war. “Everything we had planned for the next Metro changed in 2020, and more significantly in 2022,” says executive producer Jon Bloch. Creative director Andriy Mls Shevchenko adds that the war with Russia shifted Metro 2039’s thematic direction to focus more on “the cost of silence, the horrors of tyranny, the price of freedom.” The team is doubling down on making choice and consequence matter. “We will go where the worst of humanity will be on full display,” says Schevchenko. Despite this direction, Ulmer clarifies that 4A does not want to romanticize or “make a theme park” out of the post-apocalypse. While the studio’s unique first-hand perspective of enduring the hardships of a real war – including the developer relying on battery generators for electricity and sheltering from rocket and drone attacks – will be reflected in 2039’s narrative, Shevchenko adds that this is still a Metro story. The game will mark a return to the tunnels of earlier games, though we don’t know if it will retain the more open exploration of Metro Exodus. A snippet of gameplay shows The Stranger exploring a richly detailed, bombed-out laundromat. Metro staples, like wiping grime off your protective visor, monitoring your wristwatch that displays your remaining oxygen, and listening to the familiar radiation ticker, are all present. An opening in the wall has allowed snow to partially blanket the room, burying the skeletal remains of humans and other creatures. As The Stranger goes to inspect a fresh body, he’s interrupted by the arrival of large mutants resembling werewolf-like moles. The Stranger bolts down an escalator, turning back only to take a single shot at his pursuer; like previous games, ammo must be scarce. The bullet barely registers as pain to the creature. It pounces on top of The Stranger, who must wrestle it to avoid getting his head ripped off by its gnashing, protruding teeth. The Stranger’s punch is reciprocated with a debilitating swipe by the mutant, and he manages a kick that provides just enough breathing room to lodge his knife through the mutant’s skull, killing it. The Stranger turns around to reveal he was at the doorstep of an underground shelter; soldiers pull him through the heavy doors, which close right before the other mutants can avenge their comrade. This brief gameplay section was impressively rendered and definitely has the hallmarks of what fans would likely want in a new Metro game. We’re excited to see this somewhat underappreciated series make a comeback, and while the subject matter won’t be for the faint of heart, we can’t wait to survive the horrors of its fallen world one more time.

Game Informer PreviewsApr 15

Soulframe: Digital Extremes CEO Says Putting 'Soul' In The Title Was An 'Idiot Decision' Love it or hate it, the word “soul” is quite synonymous with From Software, whether that’s Demon’s Souls, Dark Souls, its other challenging action games like Bloodborne or Elden Ring, or the Soulslike genre the studio inspired. So it’s no surprise that some players expected “Soulframe” to feature gameplay reminiscent of a Soulslike. After playing the game for several hours myself – and if you’re a Game Informer subscriber, you will be receiving a Soulframe Preludes code to check it out for yourself, too – I can confidently say that while there is a slight tinge of that Soulslike feel, I wouldn’t place it in the Soulslike subgenre of action games. Digital Extremes doesn’t admonish anybody who sees its slower, more deliberate fantasy RPG action game with “Soul” in the title and assumes it’s in the ilk of From Software games, though.   “We made the idiot decision to put ‘Soul’ in the title, right?” Digital Extremes CEO Steve Sinclair tells me in the studio’s DevStream recording space during my visit for the Soulframe cover story in the May issue of Game Informer . “Yeah, it’s stupid. We invited that criticism, absolutely, but the ‘Soul’ is supposed to be more about the literal soul [of these characters and the world].” That criticism Sinclair is referencing is the initial response to Soulframe’s combat when players first jumped into Preludes. He says the team used too much of the Warframe system for Soulframe’s combat, a smart and iterative idea in theory, but one that doesn’t work as well because the latter is a much slower system than the former. “[So] when an enemy is lasting 15 to 20 seconds on screen, instead of one [like in Warframe], you see everything,” Sinclair says. “‘That foot slid there, the character doesn’t have a good hit reaction, when he falls, his head clips through the geometry,’ and all this stuff.” The team responded by reworking combat and believes the community would agree it’s in a much better place today. “People definitely love the vibes [...] and the stories we were telling, but yes, mechanically, we just missed the mark, and I think it was a lesson learned and a failure in our messaging because we probably didn’t elaborate enough on the title of the game,” Soulframe creative director and former Warframe art and animation director Geoff Crookes says.   Today, Soulframe is more responsive to your real-time inputs, in stark contrast to the typical animation frame-based combat of Soulslikes. “All this stuff, which From Software has been working on for two decades, we were trying to do in two years [...] and it didn’t work,” Sinclair adds. Speaking to Soulframe lead designer Scott McGregor in a different interview, he tells me the first iteration of early access combat for the game “wasn’t good enough,” but notes the Preludes and Founders programs are about finding out what works and what doesn’t, and addressing it alongside the community actually playing the game. “Warframe’s combat, from where it started to where it is today, is radically different, and I think Soulframe will be a continuing evolution of that core loop,” McGregor says. “We’ll be continually refining it and making it tighter, and I think you can already see that almost on the daily.” Soulframe game designer Penny Shannon, seated beside McGregor, says, “I think it’s really down to being okay with the fact that you’re going to have to change something that you’ve done and are really proud of and be okay with that.” With Soulframe Preludes continuing today, the game will continue to evolve based on the intersection of Digital Extremes’ vision and the desires of its active playerbase. And, if you’re a subscriber to Game Informer before April 22 , you can be a part of that because you will receive a Soulframe Preludes code to check out the game. More information about codes can be found here . For more exclusive Soulframe insight, head to our hub here .

Game Informer PreviewsApr 15