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Adventure Corner ~ Cthulhu: The Cosmic Abyss Welcome to Adventure Corner, a column where members of the RPGamer staff can give their thoughts, impressions, and pseudo-reviews for various adventure titles that don't come under our usual coverage. Adventure Corner is aimed at delivering opinions on a wide range of titles, including visual novels, point-and-click adventures, investigative mysteries, and so forth. In this edition of the column, we take a look at Cthulhu: The Cosmic Abyss, a Lovecraftian horror-themed investigative mystery that sees Noah Williams descend into the abyssal depths of the ocean to investigate occult activity and the cyclopean ruins of R'lyeh. Cthulhu: The Cosmic Abyss Platform: PlayStation 5, Xbox Series X|S, PC Release Date: 04.16.2026 Publisher: NACON Developer: Big Bad Wolf Official Site Lovecraftian horror has a storied century-long history, with a deep and unique mythos centered on stark raving madness on a cosmic scale, a bleak view of humanity, skepticism of technological progress, and forbidden knowledge. Cthulhu: The Cosmic Abyss looks to capture all these elements and does so quite adeptly. Its presentation, narrative, and gameplay evoke terror and unease, offering an array of puzzles that, for the most part, are very well-designed. Unfortunately, widespread performance issues and bugs hamper an otherwise intriguing spiral of cosmic insanity. Cthulhu opens with protagonist Noah Williams and his colleague Elsa floating down a flooded river to a dilapidated house, where they’re looking for their missing partner, Mei, who has mysteriously gone off the grid and suddenly abandoned her post at Miskatonic University. Noah, Elsa, and Mei are all agents of a group called Ancile, which investigates occult activity, and upon exploration of the house, it’s obvious that Mei has become severely obsessed with some truly odd and dangerous occult elements. After Noah finds alienlike tentacles in the basement, he opens a portal to a strange cosmic dimension and gets sucked in, with Elsa following shortly thereafter. There, they find Mei, who has become insane and violent, and she attacks both Noah and Elsa. While Noah barely escapes with his life, Elsa remains trapped inside. After some months have passed and Noah has recovered, he and Ancile decide to investigate billionaire Andrew Marsh, the CEO of Ocean-I, a deep-sea helium mining corporation. Like Mei, Marsh has also disappeared without a trace, and evidence in Mei's house strongly connects Marsh to the occult. Hoping that the connection provides a way to reunite with Elsa, Noah adventures down to the abyssal depths of the ocean to investigate the abandoned deep-sea station. [caption id="attachment_188207" align="aligncenter" width="640"] Ocean-I's abandoned mining station, trailing into the depths.[/caption] Cthulhu ’s story is executed quite well, with a lot of detail, mystery, and unsettling moments. There is a layered use of and clear passion for Lovecraftian staples and mythos, such as Miskatonic University and deities and creatures like Azathoth and Dagon, making it clear that the developers did their homework. Cthulhu also manages to stand out from typical Lovecraftian fare by layering in pertinent modern themes and issues, including the power and influence of billionaires as well as the looming threat of climate change and resource shortages, the latter of which is a motivating factor for Ocean-I’s efforts. While some of the late game’s mythos can feel a bit overwhelming with all that is thrown at players, it always manages to remain compelling and, more importantly, terrifying, with a real sense of dread and unease throughout the whole adventure. Cthulhu ’s gameplay focuses on interacting with the environment, investigating objects and their associated clues, and making deductions to solve mysteries. Noah is partnered with his AI assistant, Key, who compiles information and provides an interactive interface known as the Archive, where players can organize clues on a grid. Players are also able to pin clues, connect pieces of information, and use the analyze function to reveal more information about an object’s constitution or traits. For example, batteries might be constituted of lithium and potassium hydroxide or helium and potassium hydroxide. Each of these elements has an associated frequency, which Noah can assign to his sonar, allowing him to ping the environment to reveal objects with the same frequency. Some objects have multiple frequencies, and Noah’s sonar serves as the basis for environmental exploration. To keep things balanced and encourage prudent, thoughtful gameplay, Cthulhu uses a currency called Energy, with each analyzed object costing one unit. Glowing lichen in the environment allows Noah to refill his Energy, but players must carefully choose which items to analyze, as running out of Energy and continuing to analyze haphazardly causes Noah’s corruption to grow. Corruption degrades and eventually destroys Noah’s Evolutions, assignable traits that expand his investigative abilities, either by increasing Energy gain or augmenting his sonar. Corruption can increase or decrease depending on the player’s story choices, which offer low- and high-corruption routes in most chapters, further shaping how the plot and ending unfold. [caption id="attachment_188208" align="aligncenter" width="640"] The Archive makes connecting clues and deducing information seamless.[/caption] Cthulhu ’s design does an outstanding job of providing a well-designed user interface. The Archive makes clue organization and management feel seamless and rewarding, especially given the density of Cthulhu ’s mysteries and, later, their complexity . Being able to analyze previously obtained clues from the Archive’s interface is a huge plus, allowing players to weigh the importance of information and wait until their Energy is sufficient before committing to a decision. Environmental exploration is strong as well, but fares a bit weaker, as interfacing with some objects in the environment can be a bit tricky, and Noah can only hold onto four objects at a time, which occasionally necessitates extra backtracking. While the game does an adequate job at rewarding exploration by increasing Noah’s abilities, Evolutions can only be altered when obtaining a new one, making it difficult to experiment very often with this feature and leaving it feeling somewhat redundant. While the narrative and gameplay underpinnings of Cthulhu are incredibly solid and fascinating, unfortunately, the review build offered is unstable and rife with glitches, bugs, and crashes, which severely detracts from the experience. Often, when using the sonar in the environment, the frame rate absolutely craters, especially if there are many objects with identical frequencies on the screen at once or if there are too many clues in the Archive. This is worse in chapters with more interactables, sometimes causing crashes. Other issues include audio degrading or cutting out, visual oddities, brief freezing, and objects becoming non-interactable, including once before the game’s final cutscene, which absolutely kills momentum and tension when a reset becomes necessary. Performance issues aside, Cthulhu ’s visual presentation, especially its art direction, is fantastic, particularly in environmental design. The undersea Ocean-I outpost and underwater areas feel oppressive, suffocating, and lonely, and the cosmic city of R’lyeh Noah finds himself within has some harrowing, terrifying, and spectacular architectural design. There’s an otherworldly cosmic atmosphere throughout, with plenty of star and space motifs and visceral slime, tentacles, and other gooey substances laced across the buildings and monuments. While some of the game’s human models, facial capture, and lip synching look a bit rough, the visual presentation is, minus a handful of rough textures here and there, excellent and distinct, making great use of Unreal Engine 5’s capabilities. [caption id="attachment_188209" align="aligncenter" width="640"] The bizarre, mythical city of R'lyeh, where Cthulhu looms...[/caption] The music is another standout feature, with a full, robust orchestral score that amplifies the dread and cosmic terror. Environmental music rumbles with eerie, oppressive strings and woodwinds, building unease and tension very well. The voice cast is mostly okay, although Jua Amir Tutein turns in a solid performance as Noah, and Émilie Rault shines strongly as Key, giving a very firm and reassuring performance that soothes the game’s otherwise constant and heavy anxiety. Unfortunately, this is one of the elements most affected by performance issues, and the audio implementation leaves much to be desired, with music often cueing at the wrong time or voice acting cutting out during key story segments. As a full package, Cthulhu offers a well-presented and engaging mystery thriller that fans of Lovecraftian mythos or horror are sure to enjoy, though it also caters well to adventure game fans with its solid gameplay systems and well-designed mysteries. Unfortunately, the performance issues in the review build make it somewhat tough to recommend unless they are ironed out. With a little more polish, this could be a standout adventure title, but RPGamers should ideally wait for potential fixes before considering diving into the cosmic abyss. Disclosure: This article is based on a free copy of the game provided by the publisher. The post Adventure Corner ~ Cthulhu: The Cosmic Abyss appeared first on RPGamer .

RPGamerApr 16

Pragmata Pre-Launch Trailer Introduces Eight Capcom released a trailer for sci-fi action-adventure Pragmata ahead of the game's release this week. The two-minute "Eight" trailer introduces the titular character, who is an eponymous Pragmata like Diana, and teases elements of the game's story. Pragmata is set on a remote lunar research facility, where humanity has discovered a new ore. However, the facility goes silent as protagonist Hugh is part of a team sent to investigate. After disaster strikes the team, Hugh is rescued by child-like android Diana, and the air must join forces to find a way off the moon while dealing with the threat of a rogue AI that has taken control of the facility. Pragmata releases on April 17, 2026, for PC, PlayStation 5, Xbox Series X|S, and Nintendo Switch 2, with a demo available now. Those looking to read more about the game can check out Jordan McClain's review of its PlayStation 5 version. The post Pragmata Pre-Launch Trailer Introduces Eight appeared first on RPGamer .

RPGamerApr 15

Pirate Survival RPG Windrose Released on Early Access Kraken Express has released co-op pirate survival-adventure RPG Windrose in Early Access on PC. The Early Access version is available through Steam , the Epic Games Store , and Stove , priced at $29.99 with a 10% launch discount. The game is expected to spend around two to three years in Early Access. Set in an alternative Age of Piracy, Windrose sees players build, craft, and survive across procedurally-generated biomes on land and sea. In addition to taking on dungeons and quests, players can engage in naval combat with boarding actions. In addition to customising their ship and crew, players can also build up and recruit NPCs to their own settlement. The game is playable both solo offline or in co-op for up to eight players, though the developers currently recommend a maximum of four, with both self-hosted and dedicated servers available. [foogallery id="189152"] The post Pirate Survival RPG Windrose Released on Early Access appeared first on RPGamer .

RPGamerApr 15

Titan Quest II Summons New Update THQ Nordic and Grimlore Games have released a new Early Access update for action RPG Titan Quest II . The latest update for the game adds summons, a returning element of the first game. Summons are designed to work with active and passive play styles. Auras and most summons are treated as “sustained” skills. This means they reserve some energy but that players to do not need to have them in their skill bar, and are re-summoned automatically. Each Mastery has its own summon: Wisps (Storm Mastery), War Banner (Warfare Mastery), Automaton (Forge Mastery), Core Dweller (Earth Mastery), and Shadow Clone (Rogue Mastery). Players can unlock the ability to have multiple summons active at once. In addition, the update also adds the new Talismans item type, which are off-hand equipment that mages can use in place of shields, as well as some balancing rework all of the game's Epic-tier items, and other adjustments. The full update notes can be found here . Titan Quest II is currently available on Early Access through Steam and the Epic Games Store , priced at $29.99/€29.99. The game is a follow-up to 2006 title Titan Quest and is inspired by Greek mythology. It sees Nemesis, Goddess of Retribution, corrupting the Threads of Fate and condemning all those who oppose her to eternal punishment. Players control a hero fighting alongside the gods aiming to change fate, with the game including online co-op multiplayer. The game will fully release for PC, PlayStation 5, and Xbox Series X|S. The post Titan Quest II Summons New Update appeared first on RPGamer .

RPGamerApr 15

Nitro Gen Omega Fully Launching in May DESTINYbit announced that its sandbox mecha tactical RPG Nitro Gen Omega will fully release on May 12, 2026. The full version of the game, which has been in Early Access on Steam since June 2025, will be available on PC (via Steam and the Epic Games Store ), PlayStation 5, Xbox Series X|S, and Nintendo Switch. A new demo is available that introduces the game's first chapter. Nitro Gen Omega takes place in a future where humanity is on the brink of extinction after losing a war against the machines. The player assumes the role of an individual commanding a mercenary crew, which makes a living by accepting contracts from the remaining human outposts. The game lets players recruit pilots, build and tune their mechs, and lead them in tactical battles. It will be playable solo or with other players online and have a permadeath feature, with every character said to be procedurally generated. [foogallery id="189118"] The post Nitro Gen Omega Fully Launching in May appeared first on RPGamer .

RPGamerApr 15

Dragon Quest Smash/Grow Releasing Next Week Square Enix announced that mobile title Dragon Quest Smash/Grow will release on April 21, 2026 (UTC). The free-to-play title is available for pre-registration on the Apple App Store and Google Play Store , with a new trailer viewable below. Dragon Quest Smash/Grow is billed as a roguelite RPG that sees players fight through hordes of monsters, finishing them off with Coup de Grâce abilities. As players progress through a run, they choose from random Blessings skills to enhance their character. It will include co-op for up to four players. The post Dragon Quest Smash/Grow Releasing Next Week appeared first on RPGamer .

RPGamerApr 15

Beat-’em-up Action RPG The Concrete Sutra #1 Announced The Friends of Ringo Ishikawa developer yeo has announced beat-'em-up action RPG The Concrete Sutra #1 . The game is currently planned to release for PC via Steam in March 2027. The Concrete Sutra #1 follows two friends from a former gang of young bikers. Five years after the gang split up when its leader Cosmo disappeared, River finds Cosmo in the outskirts of a post-apocalyptic city. Something about Cosmo bothers River, so he sticks with him to try and find out what it is. The game will let players control two characters and feature a couple of side quests with story and arcade modes. Source: Gematsu [foogallery id="189132"] The post Beat-’em-up Action RPG The Concrete Sutra #1 Announced appeared first on RPGamer .

RPGamerApr 15

Lurks Within Walls Interview At long last players, who are skittish about their reaction time in a survival horror can rejoice. Developer Here Be Monsters has taken first-person turn-based gameplay and combined it with the atmosphere of a horror title, complete with terrifying monster designs and a tense soundtrack to create Lurks Within Walls . RPGamer had the opportunity to sit down with the developers, who can be followed here on their X profile , to ask some questions about the game, which readers can learn more about at (the game's Steam page) . Ryan Costa (RPGamer): Lurks Within Walls has the atmosphere of a survival horror but the gameplay of a turn-based dungeon crawler. What made you decide to blend the two genres? @HereBeMonstersX : One of the main references is the now 30-year-old Resident Evil , especially the classic titles. Exploring corridors, finding items, managing resources, and surviving threats are the same actions we find in classic dungeon crawlers RPGs. Combined with first-person exploration, where each movement reveals new dangers, it felt like a perfect and underexplored combination. That was essentially where the idea for Lurks Within Walls was born. RPGamer: The sound design is incredibly on point. How difficult was it to find a way to make every step feel full of tension? HBMX : Thank you. This also aligns with the classics: being in a corridor, hearing something strange, and not having full control of a freely movable 3D camera helps build tension. The limitation forces us to find more controlled solutions, which ultimately helps us as well. RPGamer: Trevor Henderson's creature designs shown so far are thoroughly unsettling. Did you ever reach a point where the bestiary risked being too large? HBMX : We’re fans of Trevor Henderson; the more monsters, the better. Jokes aside, we now have another illustrator helping us, as well as an animator. Implementing the monsters into the 3D environments also requires extra effort so we don’t lose Trevor Henderson’s characteristic “cursed image” effect. I believe we’ll have the ideal number of monsters for the game’s scope. RPGamer: Players can choose different body parts to attack; how might strategies born from this evolve as the game progresses? HBMX : Yes, the demo version has already evolved. Today we’re more focused on the arsenal and the skills you can use with each tool. For example, you might have a shotgun and choose a headshot to deal a powerful critical hit but with a higher chance of failure, or use a “knockback shot,” with a lower chance of failure and a chance to push the enemy back. This way, the player can customize which weapons to bring and which skills to apply to each one, without making the system complex, while still allowing an extra layer of management and progression. RPGamer: With multiple paths, do the choices permeate across the entire game or within isolated sections? How large of an impact can they have? HBMX : This is where we need to be careful not to spoil the experience, but let’s say the floors are connected to each other, and many of them feature secondary or alternative paths. Combine this with new characters who have distinct actions and access options, and we start to have a structure that allows for varied experiences between sessions. RPGamer: For those that are squeamish, will there be jump scares included in the gameplay from moving enemies, or is it isolated to story scenes? HBMX : We’ll have some special moments, as seen in the demo, but the scares are spread throughout the environment and exploration. Imagine walking through a corridor full of slamming doors and, as you pass them, hearing one being forced open. Do you look back? Do you stop and wait? Or do you keep moving without ever turning around? Exploring in first person with classic dungeon crawler controls has allowed us to create situations that traditional first-person exploration games wouldn’t. At times, it even feels like cinema, where you control the framing; the difference is that ours is a game and allows interaction. RPGamer: Are the locations for treasure and monsters set, or is there an aspect of randomness for every playthrough? HBMX : Not entirely random, but rather modular. Using the example above, if there’s a corridor full of doors and you’ve already experienced that event, but you’re playing again and passing through the same area, imagine that the doors don’t slam this time, or that they’re all open. Maintaining this uncertainty increases tension and also allows for different experiences, rewarding new attempts and replay. RPGamer: Will there be a form of map that players can use, or is the sense of claustrophobia and panic aimed at keeping players feeling lost? HBMX : Maps are a major dilemma in first-person dungeon crawlers, because many players end up focusing on the map, prioritizing a top-down perspective and compromising the first-person experience. Although I’ve already answered the question indirectly, LWW is a horror game inspired by survival horror, so maps play an important role. We want to integrate them better into the game: imagine a floor-plan map displayed on a wall, indicating emergency exits, or a computer showing which rooms have been unlocked. Yes, we will have maps, but conditionally, not as a feature that compromises the intended experience. RPGamer: Will player decisions just result in combat-related deaths, or can those characters die from other means as well? Related to that, with a police officer shown at the end of the demo, does death result in a game over, or does perspective just transfer to another character? HBMX : In addition to combat, there are traps and events that come at an HP cost. Even player progression may allow improvements at a price. The demo introduces the dynamic of experiencing other characters’ perspectives; in the full game, you’ll have similar moments. Saying more than that might be a spoiler. RPGamer: Is there anything that you would like to share about the game not mentioned above? HBMX : Beyond classic references, we also love modern games, especially board games and RPGs. So, in addition to inspirations from Resident Evil and Legend of Grimrock , you’ll find influences from tabletop RPGs, ranging from modern Dungeons & Dragons hacks to the award-winning old-school revival RPG Shadowdark . Finally, thank you for the space and the opportunity to present the game’s behind-the-scenes. Lurks Within Walls is the game we would like to play, and that’s why it came into existence. RPGamer would like to thank the developers, Here Be Monsters, for their time answering questions about Lurks Within Walls , as well as Sarah Blackwell and Stride PR for making it all happen. Those looking forward to this tense turn-based horror dungeon crawler can check out ( the game's Steam page ). The post Lurks Within Walls Interview appeared first on RPGamer .

RPGamerApr 15

Aether & Iron Review The Big Floating Apple Developer Seismic Squirrel's debut title Aether & Iron does plenty of things to stand out from the RPG crowd. While drawing inspiration from tabletop adventures, it certainly isn't short on ideas, as it combines an alternate history 1930s decopunk setting with an intriguing turn-based combat system replicating car chases. Its fine use of noir stylings within its story and narrative helps give players an engaging experience, even if there are some missteps along the way. Aether & Iron is set in an alternate 1930s New York City that has been transformed by aether technology and a gravitational anomaly called the Well, around which float the city's numerous islands. The game takes place primarily in the Lowers, the almost lawless islands that are each run by powerful Barons with their own philosophies as they rule their parcels of land. This is in contrast to the Uppers, where the city's wealthy and elite live with a clear view of the sky. Even within the Lowers, there are various castes; for example, the Aethoneers, who are crucial for keeping the islands afloat, are often looked down upon by regular citizens. The game follows Gia Randazzo, a smuggler still coming to terms with a mission gone wrong that resulted in the death of her beloved uncle, with her actions in the aftermath putting a further stain on her reputation. While working a job in the Uppers, she comes across scientist Nellie in the aftermath of a bombing attack on her workplace seemingly connected to her research on the Well. With her research indicating that the Well is expanding and likely to swallow up the Lowers, Gia agrees to help Nellie, which puts her into conflict with the Barons running the particular islands, but also nets her allies elsewhere. [caption id="attachment_176110" align="aligncenter" width="640"] Rhiannon Moushall's narration as Gia really helps sell the noir inspirations.[/caption] Aether & Iron features an initial prologue before three main acts and a fairly brief finale, running for around twenty hours in total. The vast majority of the game follows the game's main storyline, with only a small selection of minor diversions in the form of optional character-related side quests. The story itself is well written and the cast in general is very strong as the motley crew comes together and forms tight bonds, usually informed by past struggles that get revealed or detailed naturally over the course of the game. The storytelling is helped by strong voice acting performances across the board, minus some technical hiccups, with the game itself fully narrated by Rhiannon Moushall as Gia, really helping to sell its noir atmosphere. Each of the main acts features its own main path with an introduction, middle, and end. They are individually very enjoyable and work well together to offer a cohesive journey for Gia and company, with the endings of their self-contained arcs proving very satisfying. Unfortunately, the overall finale is rather less successful; its twist is not all that surprising, and the way the conclusion itself plays out is all a bit sudden compared to the rest of the game. It at least solves the main objective of the game itself, and while it leaves open a few questions and plot threads, none of them are in need of a pressing answer, and the possibility of the developer returning to follow them in the future is quite welcome. Nevertheless, while the ending doesn't fully stick the landing in the same way each act does, it doesn't detract from the highly engaging journey to get there. Story sequences see Gia investigate locations and participate in conversations and events. Choices during dialogues and events impact how quests can play out and the fates of certain characters, usually with various skill checks attached to them, and fully investigating an area will often present additional options for Gia to handle the current quest objective. Each skill check involves the roll of two six-sided dice, with the result and any modifiers added together and compared against the target score. The game readily displays the chances of a successful check, with double ones or double sixes guaranteeing success or failure. Gia can also carry around various items of use that work either as direct bribes or gifts to unlock dialogue options or get out of sticky situations, or which allow dice to be re-rolled. In its regular mode, save scumming for favourable dice rolls is readily an option, but the game also includes a single-save option that removes the option to save scum and a permadeath mode. Quests never get very complicated, and there's not much to do outside of the story, but the balance of player choices, skill checks, and events helps the game tick along nicely. [caption id="attachment_176105" align="aligncenter" width="640"] Dice rolls are used frequently during story events and conversations.[/caption] Aether & Iron features a novel approach to strategic turn-based combat, taking the form of car chases. The party of up to three each drives their own vehicle as the streets zoom by, using their turn to move up and down the progressing grid and attack foes (or bystanders) as necessary. Each turn generally sees the enemy go first, followed by the player, before any hazards or changes to the road, such as it splitting into two or lanes ending, activate. The way the scenery is always zooming by works nicely to ensure that, despite being turn-based, it feels like the action is happening. Except where a mission actively requires their survival, there doesn't appear to be any penalty for defeating bystanders, which players can do to their advantage. Positioning is oftentimes the most important part of combat. It impacts what defensive and offensive moves might be available, whether any forthcoming threats -- indicated on the grid -- need to be moved away from, and even how and when players want to defeat foes, as any in the lane behind a defeated enemy will take damage when they crash. Each turn, a combatant gets a certain number of action points (AP) determined by their vehicle and any buffs or debuffs, which they can use to move and undertake actions. Each action has an AP cost, as does the direction of movement: it costs far less AP to move backwards (i.e. slow down) than it does to go forwards (accelerate). Available actions are determined by each car's equipment, such as weapons or auxiliary tools, and character skills. Generally, each action can be used once per turn. [caption id="attachment_176104" align="aligncenter" width="640"] The game's approach to combat is novel, turning car chases into strategic turn-based combat.[/caption] The game doesn't overuse its combat, with story events and skill checks arguably being a larger focus, which helps make each combat its own occasion. By and large, it is effective, with certain encounter designs creating good excitement and great satisfaction when players figure out a strategy that leaves them with minimal damage. However, there are also some encounters that are much less interesting and a bit annoying. One particular misstep comes in the game's finale, as it suddenly throws out a punishing three-stage final boss with no healing in between that many players will likely need to have a dedicated setup for. As players complete quests, skill checks, combat encounters, etc., they earn experience points for the party. Upon each level up, players earn a skill point that can be spent to upgrade each character's skills. There are nine skills in total, divided into three disciplines; Gia has access to all nine, while all other party members cover two of the three disciplines. Each skill has a linear set of upgrades, with every odd node providing an additional +1 modifier to dice rolls involving that skill while they are in the party, while each even node offers a new combat skill. These dice boosts stack across the active members. Elsewhere, players can obtain a reasonable selection of cars and equipment, but various restrictions mean that players aren't given a whole lot of freedom in how they can customise each car for combat, and trying to find a use for newly-acquired weapons often isn't worth the time. One of Aether & Iron' s biggest strengths comes from its music. Christopher Tin and Alex Williamson provide an appropriate jazz-heavy orchestral score that fits right in with its setting and is delightful to listen to. The strings, brass, and percussion all get their chances to make an impact on the music when called for, and it goes a long way towards making the game a pleasurable audio experience. [caption id="attachment_176106" align="aligncenter" width="640"] Where we're going, we do still need (translucent) roads.[/caption] Meanwhile, the visuals are effective if unspectacular. The art style and designs are nice to look at, but there's just not a whole lot going on in the presentation, and the combat action becomes a bit rote after a time. One area the game struggles a bit is on the technical front. The performance can be a bit rough at times for those with lower spec PCs, and the UI is definitely not the greatest. While the game does support gamepads, it makes certain menus even more awkward to navigate, sometimes requiring the use of the mouse and keyboard to bail out of them. There are also occasional issues of repeated or misread dialogue. Aether & Iron is the sort of game I like to see exist. It populates a novel setting with an interesting cast of characters and uses them to build upon a solid gameplay structure, while trying out plenty of its own ideas. There are definitely flaws within, but despite these, it's ultimately a very enjoyable game to play through, and I would be very happy to continue Gia Randazzo's story in the future. Disclosure: This review is based on a free copy of the game provided by the publisher. The post Aether & Iron Review appeared first on RPGamer .

RPGamerApr 14

Elementallis Releasing Later This Month Publisher Top Hat Studios and developer AnKae Games announced that top-down action adventure Elementallis will release on April 28, 2026. The game, inspired by the Legend of Zelda series, will be available for PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X|S, and Nintendo Switch, priced at $17.99. After players accidentally set the Elements wild and put the world in danger, Elementallis sees them embark on a quest to fix their mistake. To restore them, players will need to conquer the temples where each Element resides by completing puzzles and fighting foes using the Elements they have previously gathered. The game includes eight different temples and eight biomes to explore. [foogallery id="189095"] The post Elementallis Releasing Later This Month appeared first on RPGamer .

RPGamerApr 14