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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!

'Pay Attention To Kyoto' Says Onimusha: Way Of The Sword's Director Platform: PlayStation 5, Xbox Series X/S, PC Publisher: Capcom Developer: Capcom Release: 2026 Rating: Mature The Onimusha franchise has been mostly dormant since the release of Onimusha: Dawn of Dreams in 2006. The series was born during the PlayStation 2 generation, and it basically died there, too. The first two games have since been remastered and released on contemporary platforms, but it has been a long time since we went on a new adventure in the often bizarre, demon-infested reimagining of feudal Japan (and modern Paris, but we don’t have to get into all that here). The gap since a new release has certainly given Onimusha more than enough time to catch its breath, but we’re eager to finally slice up some demons again in 2026. We spoke with the game’s director, Satoru Nihei, over email to learn what will make Way of the Sword feel like a proper Onimusha game all this time later. “Action is absolutely essential when discussing what makes an Onimusha game,” Nihei writes. “Iconic elements like soul absorption and Issen counters are very much present in this game and we’ve taken a lot of care in crafting them. That said, it isn’t just about cutting down the enemies in front of you. There are still particular systems and moments that will require deeper thinking.” If you have no connection to the originals, though, Nihei points out that it won’t be an issue. “There’s no direct story connection, so characters from previous entries won’t appear in Onimusha: Way of the Sword,” Nihei writes. “However, we’ve included elements that pay homage to earlier titles.” The original games felt as close to classic Resident Evil as they did to action sword games. Onimusha 1 and 2 had pre-rendered backgrounds and were structured similarly to the Capcom horror franchise, but the action required thoughtful blocking and sword strikes rather than counting bullets. They also had a very satisfying downward thrust that could be used on demons who weren’t destroyed quite yet, which Nihei confirms you will be able to do here. “Under certain conditions, yes!” Nihei writes. “There is an action where Musashi plants his blade into a fallen enemy.” The series also took some surprising science-fiction swings. The third game had time-travel elements, and the second had technology like TV screens, but Nihei says you probably shouldn’t expect something like robots, which also made an appearance in 2. “If you’re looking for surprises, I’d encourage you to pay attention to Kyoto, where the game takes place.” Nihei writes. “While Kyoto is often seen as a beautiful, elegant city, it’s also home to many eerie legends and folklore that goes back centuries. By weaving these stories into the narrative, we’ve created a fusion of folklore and fantasy that players should find exciting. Even our team in Japan discovered myths we never heard before – so you may uncover a side of Kyoto you didn’t know existed.” Overall, Way of the Sword does look and play differently than what someone might define as classic Onimusha gameplay, but it’s worth noting that after the first two games were released, the series was flexible in terms of its defining gameplay features. It’s a series that isn’t afraid to try new things, especially when you consider there was an Onimusha strategy game on Game Boy Advance and even a Smash Bros.-style fighting game featuring its wide cast of characters as playable fighters. I particularly like the first two Onimusha games, and though Way of Sword does look fairly different from those titles, I am eager to explore its world and meet its new protagonist, Miyamoto Musashi.

Game Informer PreviewsJan 27

Control Resonant Preview – The First Game Was A Stepping Stone Platform: PlayStation 5, Xbox Series X/S, PC, Mac Publisher: Remedy Entertainment Developer: Remedy Entertainment Release: 2026 Remedy Entertainment has finally revealed the sequel to Control, and despite calling it Control 2 in financial earnings reports, it’s called something else: Control Resonant. Though formally revealed during The Game Awards in December, I got an early look at the game behind virtual closed doors ahead of that premiere with creative director Mikael Kasurinen, who is also co-director of the studio and the director of 2019’s Control. The reveal trailer begins with a man sitting in a glass cage within The Oldest House, the setting of Control and the New York City-based headquarters of the Federal Bureau of Control. Soon after, we see Manhattan morph into a dizzying mix of skyscrapers and streets reminiscent of Inception or Spider-Man: No Way Home . After a quick look at bloody bodies adorning the Oldest House’s steps, teasing that something has gone very wrong in the Bureau’s HQ, we see Jesse Faden, the protagonist of Control, stab someone on a slab with a strange metal object. That someone is Dylan Faden, Jesse’s brother, and that metal object might just be the Apparent, the shapeshifting melee weapon he’ll be using as the new player-controlled protagonist. “Control is the story of two supernatural siblings separated as kids,” Kasurinen tells me in the virtual preview. “They live two very different lives. Dylan was taken at age 10 by a mysterious organization, and Jesse, who was 11 at the time, managed to escape.” Control takes place 17 years after this event, and Jesse managed to find Dylan inside the Oldest House, but it was too late: the Hiss had already taken over. Jesse, however, resisted the Hiss and became the new FBC director. She then saves Dylan from certain death and cleanses him of the Hiss. It left him in a coma, and Control ends in a quiet stalemate: the hiss is stopped but contained only within the Oldest House. Fast forward seven years after Control, and Jesse has mysteriously disappeared, the Hiss lockdown has fallen apart, and this corruptive supernatural force has spilled into Manhattan, turning the once vibrant city into a kaleidoscope of psychedelic nightmares. Dylan awakens from his coma, though the reveal trailer teases this might be less of a medical miracle and more the work of otherworldly forces, and determines he must save Manhattan. To do so, he’ll use the Apparent, which, similar to Jesse’s Service Weapon, can shapeshift to match his needs, going from a dual-wielded melee weapon to a massive hammer (and presumably more). Kasurinen describes this “open-ended” game as distinctly not open world, and one with “fast-paced traversal, warped environments, [and] mindbending powers and weapons.” “I think our way of handling traversal is going to be something that will stand out [and] I also believe we have a unique take on how we blend melee with forward-facing momentum and supernatural abilities,” he tells me in a separate email Q&A. In this open-ended Manhattan, you can expect secrets, side stories, and more. Kasurinen says none of it is filler and all of it is integrated into the larger world of Control and the golden path, stopping short of discussing any ties to the wider Remedyverse. He adds that Control is an action-adventure game, and that Resonant is an action-RPG with “more meaningful progression and real choices,” alongside “distinctive builds” that complement various gameplay styles. “It’s not a question of just entering a genre that is new to us, but discovering what the Remedy interpretation of it is,” Kasurinen says. “Control was a great first stepping stone. Now, we’re ready to leap further.”

Game Informer PreviewsJan 27

Judas Preview – New Details From Director Ken Levine Platform: PlayStation 5, Xbox Series X/S, PC Publisher: Take-Two Interactive Developer: Ghost Story Games Release: TBA It’s rough out here for fans of BioShock and/or Ken Levine games. Infinite, which launched in 2013, was both the last BioShock game and the last Ken Levine game released. With every video game showcase, whether it’s something from PlayStation or Xbox, or one of Geoff Keighley’s various productions, I sit waiting, wondering, “Is this when I’ll see what’s next for either BioShock or Judas?” The former belief has left me feeling like a holy fool, as BioShock 4 seems no closer to release than it was this time last year; The latter, however, has provided me with morsels over the years. Now that we’re in 2026, I feel renewed knowing I am one year closer to finally playing Judas. Judas will apparently be Levine’s most reactive game yet. Given how linear his stories have been thus far, I’m excited to see how I feel about Levine and Co.’s narrative style when I’m able to directly influence how it plays out with my gameplay choices. But I want to know more. So, I asked the man himself. “It’s our first game where you truly inhabit a character in a way you didn’t in… say BioShock,” Levine tells me over email. “When we began, we didn’t want to just make a first-person shooter. We wanted to make a Judas simulator where you not only get to decide how she proceeds through the story, but also who you should trust and how you should deal with the consequences of your choices. The most important thing is really placing the player inside the character and letting them feel a little bit of what it’s like to be on that ship as the sun is setting on the human race. “In addition, what sets it apart from other games is the way we’re building it (and the reason we spent five years in just R&D). We wanted the characters to not only respond to major choices, but to also recognize and respond to your sequence of actions, down to the smallest details.” Levine says being able to realize the macro and micro levels of decision-making from players is very important to Ghost Story Games. When I ask what the team is most excited for players to experience when Judas launches one day, Levine says, “Villainy,” a feature revealed late last year. He says Judas’ Villainy feature will allow players to feel the pressure and stakes of building relationships with other major characters in the game. Depending on how you act with those characters, they might hate you or like you or hate you and then like you again. “It ultimately comes down to a plate-spinning exercise that reflects relationships in real life.” However, don’t expect to game this system for a perfect run. Levine promises the Villainy feature gets to a point in Judas where you can’t please everyone, and one of the characters will turn into your antagonist. “We’re really eager to see players experience that and see which of our characters become fan favorites,” he says. To close my discussion, I ask Levine what Ghost Story Games’ biggest priorities are in the coming months of development. He says the team is heads down on its next big milestone and that Judas is progressing really well. “We’ve gotten to a good place to start keeping our community more in the loop, so we started a series of development updates earlier this year,” he adds. “We’ve got two of them up so far, with more from us to share coming soon. Then, as we approach launch, you can expect trailers among other announcements.” Here’s hoping it’s a game I see in the next showcase I watch (I’ll certainly be waiting and wondering if it will appear).

Game Informer PreviewsJan 27

Clockwork Revolution Preview – How InXile Is Making Your Choices Feel Personal Platform: Xbox Series X/S, PC Publisher: Xbox Game Studios Developer: inXile Entertainment Though we still don’t know when Clockwork Revolution will launch, it remains one of my most anticipated games. Its reveal trailer promises a fun, steampunk city to shoot my way through, but the subsequent details we’ve learned about the game have continued to pique my interest. Developer inXile Entertainment’s best-known series, Wasteland, isn’t my particular cup of tea, but it’s a kettle I admire from a distance because of its mechanics, the way its systems interact, the worldbuilding, and more. Now that inXile is brewing something that aligns with my preferences in Clockwork Revolution, this studio has my attention. Morgan Vanette is the customizable protagonist and a member of the Rotten Row Hooligans gang. This group is just one of many in the bronze-tinted city of Avalon. Vanette reminds players in a trailer, “You either got a gang at your back, or a knife in it,” and inXile has made clear that it wants you to feel like all of Avalon has its eyes on you, from those in the slums to the nobles and businesspeople in the golden mansions, presumably like Lady Ironwood. After some time travel manipulation at the hands of this mysterious villain, Vanette and their allies set out to turn back time (and the tables) and stop her from taking over the city. Clockwork Revolution game director Chad Moore tells me, “Right now, we’re very focused on making sure the game responds to player choices in a natural way. We want every choice to lead to moments that feel personal, surprising, and true to the story they’re shaping.” He adds that inXile’s priority is to make Avalon feel alive and responsive so players can sense the city shift around their decisions “in ways that feel intuitive, immersive, and uniquely theirs.” He describes the narrative of Clockwork Revolution as dark, humorous, and brutal, with player attributes, skills, dialogue choices, and weapon crafting all rounding it out in player-specific ways. Plus, there’s Vanette’s ability to time travel like Lady Ironwood, thanks to a special glove. Perhaps it’s a faux pas to mention BioShock Infinite, but I swear I’m getting at something here that’s beyond the visual similarities between it and Clockwork Revolution, though those are delightfully apparent. The former’s initial premise involved a lot more universe-tearing (and subsequently, time manipulation shenanigans) than the final release, and I can’t help but see some glimmers of Bioshock Infinite’s revealed-then-cut (or at least toned down) time mechanics. Trailers for Clockwork Revolution show Vanette using their time travel glove to reshape the environment, platforms, and tools around them in-real time to help them overcome foes or progress forward through Avalon; that, to me, when combined with what looks to be some great gunplay, is the most exciting aspect of this game, and I can’t wait to see how deep it goes. “The biggest thing for us is the depth of the visual reactivity,” Moore says. “When you go back in time in Clockwork Revolution and change something, you’re not just opening a new branch; you’re coming back to a present that’s been physically reshaped around those choices. Avalon has been handcrafted to reflect those changes in ways that feel surprising and earned. It reacts to what you’ve done in ways that you just don’t see in many other games.” That’s a lofty statement, but I look forward to seeing if Moore and the inXile team back it up when I finally play Clockwork Revolution.

Game Informer PreviewsJan 27

Highguard (PC) Preview — Facing An Uphill Battle with GamersWildlight Entertainment's debut free-to-play FPS hero shooter, Highguard, hopes to redefine the genre.

Previews – CGMagazineJan 26

Resident Evil Requiem Hands-On Preview: The Duality Of EvilIn the small time I've played, Resident Evil Requiem is shaping up to be one of the best titles in the series.

Previews – CGMagazineJan 26

After one final extensive hands-on, Resident Evil: Requiem's formula mash-up has me utterly convinced Resident Evil 9 (aka Requiem) is all about the swings. After three hours with a clearly more-or-less final build of the game, one rather gets the impression that the entire game has been built around the idea of a pendulum swinging back and forth. Exhilarating highs and stomach-churning lows (of the good sort). What surprised me the most about the hands-on, however, is how quickly Requiem sets that ticking and tocking cadence. Read more

Eurogamer.net Previews FeedJan 26

Resident Evil Requiem Zombies Can Use Chainsaws And Other Tools Because They Retain Memories Resident Evil Requiem will soon be upon us, launching February 27 on PlayStation 5, Xbox Series X/S, Switch 2, and PC. Ahead of its launch, I went hands-on with the upcoming survival horror game to play an hour as Leon S. Kennedy and two hours as Grace Ashcroft, and you can read my thoughts here . Following that gameplay session, though, I interviewed Requiem director Koshi Nakanishi, who addressed rumors surrounding the game's exploration, making clear that it is not an open world game . I also spoke to Nakanishi about giving Leon a chainsaw, this game's take on Resident Evil zombies, nostalgia, building tension in horror, and so much more. You can read the full transcript of our interview below: Interview Q&A With Resident Evil Requiem Director Koshi Nakanishi Game Informer's Wesley LeBlanc: The first question I want to ask is about the chainsaw. Why now? Why is now the time to put a chainsaw in Leon's hands finally? Resident Evil Requiem director Koshi Nakanishi via an interpreter: So the chainsaw – first off, if you've played previous Resident Evil games, you probably know chainsaws are a pretty symbolic weapon in a lot of different games. So whenever a new entry in the Resident Evil series, or whenever the developers are working on a new entry in the Resident Evil series, there's always a lot of thought put into how the chainsaw will be used in this game. So in this game, the zombies can actually use tools. They have retained some of their memory pre-turning into a zombie. And so yeah, being able to use tools is something the zombies can do here. And so with that being the case, it made sense for all the zombies to also be able to use a chainsaw. So, going from there, if one enemy with the chainsaw is defeated, it makes sense for the other zombies to pick it up and to be able to use it. And so from there, it went to, "Well, if that's the case, then of course, you as the player also want to use it." And so that's kind of how that line of thought naturally progressed and resulted in Leon being able to wield a chainsaw in Resident Evil Requiem. Another driving force behind it is that by Resident Evil Requiem, Leon has a lot of experience under his belt at this point, so it felt like a good time for Leon to turn the tables a bit and use a chainsaw himself, since he's gone up against so many chainsaws previously. And keeping up with the chainsaws, I noticed immediately in the Leon section that when it hits the ground, it's spinning. Zombies walked over it and it cut their legs off. I'm curious if there are any other kind of physics interactions like that in the game, or is that just a cool little one-off with the chainsaw? Nakanishi : Using enemy weapons is a pretty big feature of gameplay, so being able to use enemy weapons against them is also going to be something you'll see come up beyond the sections that you've played as well. I'm curious – you can switch perspectives between third-person and first-person. How did the team land on it defaulting to first-person for Grace and third-person for Leon? Nakanishi: So, actually, for the preview that you played, it doesn't start at the very beginning of the game. The story has progressed a bit. So actually, in the final version of the game, when you start the game, it's going to ask you, which do you prefer? It's up to the player, really, on what they want to use, and they can freely choose what they want to use when they start the game. Is the intention for Grace and Leon's varying gameplay experiences to speak to each other in terms of balancing tension? Nakanishi: It's exactly as you said – the idea there is to build tension with the very horror-focused sections with Grace; she doesn't have as many options for combat as Leon, as he's much more combat-focused. So yeah, exactly as you said, that's the intention behind the design of the two characters, to have that tension and release between the two. And so [I'm] really happy that you were able to pick that up from just playing the preview. What was the ethos behind designing the monsters and zombies in this game? Nakanishi: For Requiem, the main theme that ties basically all the enemies together is a virus. So obviously, the zombies are infected by a virus. There was not a whole lot shown in the preview, but there are other creatures as well who've been infected by the virus. So, it's kind of going back to that very central theme of Resident Evil, the enemies, basically, that that through line that goes through them all is centered around a virus. Something I really enjoyed in the preview is that it felt almost nostaglic, in the sense that the Grace section felt very Resident Evil 2 police station, and Leon felt like toward the end of the game, where you're just kicking butt. I'm curious – is that intentional to set up a surprise feel for later in the game, or is it just a greatest hits of Resident Evil? Nakanishi: Obviously, Capcom has a long history with the Resident Evil franchise. The idea was to present an evolved version of some of the gameplay you know and love. So, as you said, Grace, there's a strong feeling of RE2 to show an evolution of the zombies, again, an evolution of RE2's gameplay, and Leon as well. So yeah, you're right on the money there too. What is the design intention behind the blood synthesis system? Nakanishi: There are kind of two things that led to including that crafting system with blood in Requiem. So the first one is: in lots of RE games, there's always a lot of blood in the environment, right? There's always a lot of blood everywhere in different environments. So the first question that kind of led to that system was the dev team looking at that and saying, "Is there any way to implement that element into the actual gameplay?" So that was one of the first drivers behind it. As for the intention behind that mechanic, it was to add another layer of player choice. So, for instance, yes, there's always the choice of running away or fighting the enemy, but knowing that you can possibly collect blood from the enemy gives you another incentive to defeat the enemy, like you were mentioning. So it just adds another layer of choice, and I guess risk and reward for players going through the game. Speaking about choice, I don't know if you utilized it or not, but there's an injector in the game that you can also craft that, if you sneak up, you can defeat an enemy with one hit. You'll notice that you can't collect their blood. So, yeah, again, it's really about, you know, adding player choice and giving different incentives for choosing different things. What do you think is the most defining aspect of these zombies versus others in the RE series? Nakanishi: The thing that really sets these zombies apart, which we're sure you experienced when you played, is that the zombies actually retain some memory of their life before they turned into a zombie. So you can actually see that in their actions, as they're kind of focused on what they were doing or what they were responsible for before they turned into a zombie. So retaining a little bit of their past lives is something that's really new for the RE series here, and you'll actually, if you look closely, be able to utilize that stuff to your advantage. Nakanishi closed out the interview by addressing rumors that Resident Evil Requiem is an open world game – it isn't, and here's what he had to say. Resident Evil Requiem launches February 27 on PlayStation 5, Xbox Series X/S, Switch 2, and PC. For more about the game, read my hands-on preview of Resident Evil Requiem here , and then check out the latest news from the Resident Evil showcase that aired last month. After that, read about Leon's custom Porsche in the game, and then check out the Resident Evil Requiem Nintendo Switch 2 Pro controller .

Game Informer PreviewsJan 26

Resident Evil Requiem Preview – Exciting Emulation Platform: PlayStation 5, Xbox Series X/S, Switch 2, PC Publisher: Capcom Developer: Capcom Rating: Mature Nearly 30 years ago, a rookie cop named Leon S. Kennedy exited a vehicle and stumbled into a labyrinthine police department within Raccoon City, a metropolis in the process of being overrun by a horrific virus. In the present day, I sit within an unassuming office building in Los Angeles, watching a much older Leon do almost the same thing in Resident Evil Requiem. His hair’s longer, his sculpted jaw shaded by the remnants of an early morning shave, his jacket more stylish; he exits not a police car, but a custom Porsche this time around, and once more stumbles into a labyrinthine building. It’s not long before a mysterious virus turns humans into zombies, and the hallways of this quiet building, a therapeutic care medical facility, echo with painful groans, stumbling bodies, and a familiar chaos Leon was practically born for. I dispatch a few zombies before one rushes me with a chainsaw. I dodge and riddle its head with bullets. The chainsaw falls to the ground and begins spinning wildly, like it has a mind of its own. Nearby zombies walk into its path, losing legs in the process, blood painting the surrounding walls, fake plants, and expensive office chairs. As I approach the weapon, I take damage too before picking it up. Finally, Leon’s got a chainsaw. Resident Evil Requiem Impressions – Video Preview:   The chainsaw rips mercilessly through zombies before its use is depleted and left buzzing in the chest of what used to be a doctor. It’s exhilarating, both diegetically and as a fan of the series who’s been terrorized by this machine’s rapid-spin teeth many, many times. During this preview, I play as Leon for an hour and control the game’s other protagonist, Grace Ashcroft, for two. Everything I see, hear, and feel while playing as Leon speaks to the final hours of Resident Evil 4, specifically on The Island, when confidence built up over the game’s prior eight or so hours, combined with the weaponry on hand, allows you to feel like a blonde killing machine. Though Requiem’s Leon is much older, that killing machine is still ready at a moment’s notice – you need only to prime its engine with a threat and pull a cord, like the very chainsaw I just used to eviscerate the undead corpses of this facility’s patients and employees. Playing as Leon in Requiem during this specific preview is so clearly meant to provide the feeling of control and power that Grace’s sections strip away in favor of methodical exploration and terror. Leon is not concerned with finding every green herb and box of ammo here. Though I don’t know the details, he’s on a mission and deftly handles any obstacle before him with speed, cunning, bullets, and a nasty roundhouse kick. Compared to Grace, Leon’s movement feels like a sprint. I worry little about the room full of zombies, or the hulking, pus-filled monstrosity squeezing through attic hallways later in the preview, and what they can do to my health. I kill and kill and kill, and it feels good. It’s the adrenaline I need before my two hours (and after) with Grace in this very same medical facility. Separated from Leon, Grace finds herself in a similarly nostalgic and familiar situation. For some ungodly reason, this medical facility uses gems like quartz, exceedingly advanced levels of security, and old, musty hallways to create a maze-like puzzle. I can imagine employees spending hours (rightfully) complaining about this layout after work over a beer or two. Why does Grace need to find mysterious jewels, security bracelets, cast-iron keys, and more to get around this facility? Why are these items mystifyingly placed in puzzle boxes that require me to understand ritualistic poems and observe faded photographs for clues? Why, because the Raccoon City Police Station in Resident Evil 2 did. Capcom is not trying to hide what Grace’s section is meant to emulate. It isn’t the aforementioned police station, but, like… it is. And Grace plays like 1998’s (or 2019’s) Leon, too, boldly trying to put aside fears to confront zombies that stand before her and some key items she needs. After blitzing through Leon’s section in third-person, I go first-person for Grace’s section, adding some Resident Evil 7-inspired flair to this horror experience. I pass through a kitchen where a rotten behemoth of a man chops meat, scanning the room and its surrounding hallways for signs of life (presumably also to be chopped). It’s unnerving in first-person, just as it was cowering through the Baker family’s demented dinner party. Requiem plays its greatest hits here as I kill a zombie with the very last bullet in my inventory, as I reach the next typewriter to save at, as I open another drawer and locker and cabinet to find something, anything that will help me survive this god-awful night. It’s not all familiar tricks here, though. A new crafting system in the form of blood synthesis allows me to make use of the zombies I mar as I can now collect their ichor in an upgradable tube. I can combine it with ammunition, herbs, and more to create powerful healing vaccines and one-shot-one-kill bullets, among other things. It’s a fun addition to Resident Evil’s inventory resume, and makes me think twice before sprinting past a zombie to advance – what could its blood do for me? I can even craft a special inhibitor that Grace plunges into the backs of unaware zombies to prevent them from metastasizing into an unholy tumor of blood, muscle, and guts, a second life of sorts for zombies already brought to the ground by my bullets. There are some surprising, interesting, and strange (complementary) things happening narratively, but I won’t spoil them here. I’m both excited about what I see play out on that front and nervous – what’s interesting and strange in the first halves of many Resident Evil games morphs into something weaker in the second half. I hope the other hours of Requiem match the adrenaline and horror I felt in this preview’s sections. For more about Resident Evil Requiem, catch up on the reveals from the latest Resident Evil Showcase , and read our interview with director Koshi Nakanishi and producer Masato Kumazawa . What questions do you have about Resident Evil Requiem? Drop them in the comments below!

Game Informer PreviewsJan 26

Cult of the Lamb: Woolhaven review: Fiendishly fantasticThe post Cult of the Lamb: Woolhaven review: Fiendishly fantastic appeared first on The Escapist .

Reviews - The EscapistJan 22