Before I detail what makes narrative adventure game Life is Strange: Reunion quite so egregious, I think it’s important to clarify that I love this series and my issues with the latest instalment are not the result of pure malice, but rather come from a desire to return to the dizzying heights of Life is Strange and its excellent sequel Life is Strange 2.

The franchise may now be helmed by a new studio, Deck Nine, (the studio behind the somewhat underwhelming spinoff Life Is Strange: Before the Storm) rather than original creators Don’t Nod (who have since put out the sublime spiritual successor Lost Records: Bloom & Rage) but the team showed incredible promise with its 2021 entry Life Is Strange: True Colors.

It wasn’t perfect, but it still delivered a well-written, emotional tale with a cast of decently memorable characters and a perfectly realized, beautiful setting.

Given how this standalone story was received, I simply don’t understand why Deck Nine wanted to bring back Max Caulfield (the protagonist of the first game) for 2024’s disastrous Double Exposure, let alone double down by adding her childhood friend (and let’s be honest, practically canon love interest), Chloe Price, to this new entry as well.

Have your cake

If there’s one word to describe Reunion, it’s "cowardly". This is nothing short of an embarrassing attempt to make amends with fans after Double Exposure, executed so sloppily that it even managed to annoy me as someone that didn’t appreciate the direction that game went in the slightest. The problem is a heavy reliance on retconning, with basically every event in that game’s latter half being completely undone in minutes.

Reunion starts by asking you to recap some of your choices from Double Exposure, who you chose to date, for example, in addition to some key decisions from Life is Strange 1, like whether you saved Arcadia Bay or Chloe. What does any of this change, exactly? Practically nothing, as it’s quickly revealed that you broke up with your chosen love interest off-screen in the handful of months between entries, and the destructive world-altering events of the last game’s finale have all been forgotten thanks to a convenient widespread case of what the characters dub “storm amnesia”.

You may recall that friend-turned-antagonist Safi Llewellyn-Fayyad closed out Double Exposure by vowing to travel the country, creating a team of super-powered individuals like some kind of hipster avengers, but all of this is quickly hand-waved away by the simple explanation that she gave up and came home after a few weeks.

None of your decisions from the first game matter either, as it turns out that both possible timelines have merged into one thanks to the supernatural events of the previous entry. Not only is Chloe alive and well, but the whole town of Arcadia Bay and all of its residents are completely intact.

It completely undermines the gravity of one of the most memorable decisions in not just the series but all of gaming, and the entire reason why many (including me) fell in love with these titles in the first place. I do understand that many fans will likely be pleased by the idea of everyone getting a happy ending — but it’s cheap and, being frank, not the kind of choice a studio should make for a story that it didn’t even originally create.

Tinderbox

I could forgive much of this if Reunion still had a decent mystery at its core, which sadly isn’t the case. The main thrust is that Max’s beloved Caledon University is about to go up in smoke thanks to some kind of arson attack, and it's up to her to use her timey-wimey powers to travel back in time to fix it.

Of course, her double exposure power from the last game has been completely forgotten, replaced with rewind a la Life is Strange 1. The ability, which lets her rewind time for a short duration, seems like it would be quite useful for sleuthing, but it’s hardly used and ultimately feels like an afterthought.

There are multiple moments where it could come in handy, too, like one agonizing sequence that has you distracting a series of characters in order to sneakily inspect the contents of the folders they’re carrying. There is literally nothing stopping Max from simply grabbing the folders (which are all just lying on tables) and taking a look before rewinding a few minutes. In fact, she literally does what I’m describing later on to get her hands on someone’s bag, so I can only assume that the studio either didn’t consider the possibility in that instance or just wanted to pad the runtime.

I’m leaning towards the latter as padding is a theme elsewhere too; the mystery progresses at a painfully slow pace right up until Max walks into a room and has the story’s most important events literally explained to her (and by extension the player) in a magical sequence of moving images.

There’s no joy in exploration either, as environments are lifeless and sterile with ugly lighting that conveys no sense of atmosphere at all — a far cry from the lovely, painterly look of the first two games or even the warm, cozy appearance of True Colors.

Most are ported directly from Double Exposure, so they already feel quite stale, and that’s before you even consider that they’ve been massively cut down this time around. The university's quad, for instance, now has no accessible buildings adjacent to it (explained as the result of storm damage, though little is visible as that would require changing the models a lot), which really hampers your ability to explore.

World-building is a major problem in general. Nothing about the story feels genuine, with awkward interactions that verge on almost Lynchian at times. Nobody ever really discusses anything beyond that which is immediately relevant to Max’s understanding of the main mystery which, combined with the dire facial animation and some worryingly unfinished looking moments where the camera fades to black or pans away in order to avoid having to show what would be some rather complex scenes, gives the impression of a world populated by malfunctioning animatronics rather than real people.

Missing persons

Deck Nine clearly wants to distance itself from Double Exposure, though given how many of that game’s major characters still appear here, the handful of absences are painfully obvious. Noteworthy undergraduate student Diamond Washington is completely missing in action, as is Max’s friend and fellow educator, Gwen Hunter.

Having been hounded out of her university job thanks to a misunderstanding in the previous game, not bringing Hunter back in an entry so slavishly devoted to creating the perfect “happy ending” is a massive missed opportunity, and especially stings given the real-world parallels with transgender women being bullied out of academia.

Then there’s Chloe. I can’t pretend that part of me wasn’t glad when she burst through Max’s door on the hunt for answers about the strange visions she’s been having, quickly sinking into her former (girl)friend’s embrace. It’s like she never left, and therein lies the rub. Still a punk rock rebel with a “stick it to the man” attitude at the age of nearly 30, this doesn’t come across like an authentic adult Chloe but rather an insincere facsimile of her child self.

Are we really expected to believe that her traumatic past and years out on the open road have barely changed her after more than a decade?

Contrast this with the way that Lost Records: Bloom & Rage engages with the idea of aging to great effect, particularly with its presentation of Nora, a similarly cool character as a teenager and many players’ primary love interest in that game. It’s uncomfortable when the adult Nora arrives and turns out to be something of a facile conformist, but this entirely believable evolution forces you to re-evaluate your relationship with her and shines a new light on both your past and future interactions.

I’m not arguing that Chloe should have come back unrecognizable by any means, but a scrap of development to gesture to an existence outside of this series’ plot would have gone a very long way to make her more believable.

The segments where you actually get to play as Chloe are underwhelming in the grand scheme of things, too. Her ability to backtalk, first introduced in Before the Storm, has been stripped down massively. Originally a way of outsmarting opponents with witty comebacks by carefully considering whatever they had just said, it now involves selecting the right option using information that was invariably shown to you immediately beforehand.

The mechanic’s treatment is honestly emblematic of this entire affair: a shallow imitation of things taken wholesale from much better games. If your entire enjoyment of a new Life is Strange game boils down to seeing your favorite characters unconvincingly thrown around like action figures, then you’re going to be right at home here. For those of us who fell in love with the games for their narratives, I’m hoping that whatever the studio has planned next represents the new beginning this series now so desperately needs.

Should I play Life is Strange: Reunion?

Play it if...

Don't play it if...

Accessibility features

Life is Strange: Reunion has an admirably expansive suite of accessibility options.

This includes a range of pre-sets for low vision, low motor, low audio, or low sensory profiles, plus a huge number of individual settings. Key options include the ability to enable longer decision times for important choices (though there are quite a few of those in the game), highlight key objects and items that can be interacted with in the world, and even skip gameplay sequences if desired.

Subtitles are featured throughout the game and can be altered to your liking in the UI menu. There are multiple font styles, text size options, and the ability to enable a subtitle background to make them easier to read.

The game also offers a range of toggleable trigger warning screens, which can alert you to death, blood, suicide, violence, intense effects, drug use, sex, and high brightness scenes. A separate warning for loud sounds can also be enabled.

How I reviewed Life is Strange: Reunion

I completed Life is Strange: Reunion in roughly 12 hours on my PC, which is a 5070 Ti-powered model from retailer Scan. It has a compact Corsair 2000d RGB Airflow case, Asus ROG Strix B860-I motherboard, Intel Core Ultra 7 265K processor, a 2TB WD Black SN770 SSD, 32GB of DDR5 Corsair Vengeance RAM, and an Asus Nvidia 5070 Ti graphics card.

This allowed me to play the game smoothly on its highest graphics preset at 1080p, though it still didn't look too great. I played using my usual Razer DeathAdder V4 Pro mouse and Cherry XTRFY K5V2 keyboard, plus Logitech desktop speakers for audio.

First reviewed March 2026

Before I detail what makes narrative adventure game Life is Strange: Reunion quite so egregious, I think it’s important to clarify that I love this series and my issues with the latest instalment are not the result of pure malice, but rather come from a desire to return to the dizzying heights of Life is Strange and its excellent sequel Life is Strange 2.

The franchise may now be helmed by a new studio, Deck Nine, (the studio behind the somewhat underwhelming spinoff Life Is Strange: Before the Storm) rather than original creators Don’t Nod (who have since put out the sublime spiritual successor Lost Records: Bloom & Rage) but the team showed incredible promise with its 2021 entry Life Is Strange: True Colors.

It wasn’t perfect, but it still delivered a well-written, emotional tale with a cast of decently memorable characters and a perfectly realized, beautiful setting.

Given how this standalone story was received, I simply don’t understand why Deck Nine wanted to bring back Max Caulfield (the protagonist of the first game) for 2024’s disastrous Double Exposure, let alone double down by adding her childhood friend (and let’s be honest, practically canon love interest), Chloe Price, to this new entry as well.

Have your cake

If there’s one word to describe Reunion, it’s "cowardly". This is nothing short of an embarrassing attempt to make amends with fans after Double Exposure, executed so sloppily that it even managed to annoy me as someone that didn’t appreciate the direction that game went in the slightest. The problem is a heavy reliance on retconning, with basically every event in that game’s latter half being completely undone in minutes.

Reunion starts by asking you to recap some of your choices from Double Exposure, who you chose to date, for example, in addition to some key decisions from Life is Strange 1, like whether you saved Arcadia Bay or Chloe. What does any of this change, exactly? Practically nothing, as it’s quickly revealed that you broke up with your chosen love interest off-screen in the handful of months between entries, and the destructive world-altering events of the last game’s finale have all been forgotten thanks to a convenient widespread case of what the characters dub “storm amnesia”.

You may recall that friend-turned-antagonist Safi Llewellyn-Fayyad closed out Double Exposure by vowing to travel the country, creating a team of super-powered individuals like some kind of hipster avengers, but all of this is quickly hand-waved away by the simple explanation that she gave up and came home after a few weeks.

None of your decisions from the first game matter either, as it turns out that both possible timelines have merged into one thanks to the supernatural events of the previous entry. Not only is Chloe alive and well, but the whole town of Arcadia Bay and all of its residents are completely intact.

It completely undermines the gravity of one of the most memorable decisions in not just the series but all of gaming, and the entire reason why many (including me) fell in love with these titles in the first place. I do understand that many fans will likely be pleased by the idea of everyone getting a happy ending — but it’s cheap and, being frank, not the kind of choice a studio should make for a story that it didn’t even originally create.

Tinderbox

I could forgive much of this if Reunion still had a decent mystery at its core, which sadly isn’t the case. The main thrust is that Max’s beloved Caledon University is about to go up in smoke thanks to some kind of arson attack, and it's up to her to use her timey-wimey powers to travel back in time to fix it.

Of course, her double exposure power from the last game has been completely forgotten, replaced with rewind a la Life is Strange 1. The ability, which lets her rewind time for a short duration, seems like it would be quite useful for sleuthing, but it’s hardly used and ultimately feels like an afterthought.

There are multiple moments where it could come in handy, too, like one agonizing sequence that has you distracting a series of characters in order to sneakily inspect the contents of the folders they’re carrying. There is literally nothing stopping Max from simply grabbing the folders (which are all just lying on tables) and taking a look before rewinding a few minutes. In fact, she literally does what I’m describing later on to get her hands on someone’s bag, so I can only assume that the studio either didn’t consider the possibility in that instance or just wanted to pad the runtime.

I’m leaning towards the latter as padding is a theme elsewhere too; the mystery progresses at a painfully slow pace right up until Max walks into a room and has the story’s most important events literally explained to her (and by extension the player) in a magical sequence of moving images.

There’s no joy in exploration either, as environments are lifeless and sterile with ugly lighting that conveys no sense of atmosphere at all — a far cry from the lovely, painterly look of the first two games or even the warm, cozy appearance of True Colors.

Most are ported directly from Double Exposure, so they already feel quite stale, and that’s before you even consider that they’ve been massively cut down this time around. The university's quad, for instance, now has no accessible buildings adjacent to it (explained as the result of storm damage, though little is visible as that would require changing the models a lot), which really hampers your ability to explore.

World-building is a major problem in general. Nothing about the story feels genuine, with awkward interactions that verge on almost Lynchian at times. Nobody ever really discusses anything beyond that which is immediately relevant to Max’s understanding of the main mystery which, combined with the dire facial animation and some worryingly unfinished looking moments where the camera fades to black or pans away in order to avoid having to show what would be some rather complex scenes, gives the impression of a world populated by malfunctioning animatronics rather than real people.

Missing persons

Deck Nine clearly wants to distance itself from Double Exposure, though given how many of that game’s major characters still appear here, the handful of absences are painfully obvious. Noteworthy undergraduate student Diamond Washington is completely missing in action, as is Max’s friend and fellow educator, Gwen Hunter.

Having been hounded out of her university job thanks to a misunderstanding in the previous game, not bringing Hunter back in an entry so slavishly devoted to creating the perfect “happy ending” is a massive missed opportunity, and especially stings given the real-world parallels with transgender women being bullied out of academia.

Then there’s Chloe. I can’t pretend that part of me wasn’t glad when she burst through Max’s door on the hunt for answers about the strange visions she’s been having, quickly sinking into her former (girl)friend’s embrace. It’s like she never left, and therein lies the rub. Still a punk rock rebel with a “stick it to the man” attitude at the age of nearly 30, this doesn’t come across like an authentic adult Chloe but rather an insincere facsimile of her child self.

Are we really expected to believe that her traumatic past and years out on the open road have barely changed her after more than a decade?

Contrast this with the way that Lost Records: Bloom & Rage engages with the idea of aging to great effect, particularly with its presentation of Nora, a similarly cool character as a teenager and many players’ primary love interest in that game. It’s uncomfortable when the adult Nora arrives and turns out to be something of a facile conformist, but this entirely believable evolution forces you to re-evaluate your relationship with her and shines a new light on both your past and future interactions.

I’m not arguing that Chloe should have come back unrecognizable by any means, but a scrap of development to gesture to an existence outside of this series’ plot would have gone a very long way to make her more believable.

The segments where you actually get to play as Chloe are underwhelming in the grand scheme of things, too. Her ability to backtalk, first introduced in Before the Storm, has been stripped down massively. Originally a way of outsmarting opponents with witty comebacks by carefully considering whatever they had just said, it now involves selecting the right option using information that was invariably shown to you immediately beforehand.

The mechanic’s treatment is honestly emblematic of this entire affair: a shallow imitation of things taken wholesale from much better games. If your entire enjoyment of a new Life is Strange game boils down to seeing your favorite characters unconvincingly thrown around like action figures, then you’re going to be right at home here. For those of us who fell in love with the games for their narratives, I’m hoping that whatever the studio has planned next represents the new beginning this series now so desperately needs.

Should I play Life is Strange: Reunion?

Play it if...

Don't play it if...

Accessibility features

Life is Strange: Reunion has an admirably expansive suite of accessibility options.

This includes a range of pre-sets for low vision, low motor, low audio, or low sensory profiles, plus a huge number of individual settings. Key options include the ability to enable longer decision times for important choices (though there are quite a few of those in the game), highlight key objects and items that can be interacted with in the world, and even skip gameplay sequences if desired.

Subtitles are featured throughout the game and can be altered to your liking in the UI menu. There are multiple font styles, text size options, and the ability to enable a subtitle background to make them easier to read.

The game also offers a range of toggleable trigger warning screens, which can alert you to death, blood, suicide, violence, intense effects, drug use, sex, and high brightness scenes. A separate warning for loud sounds can also be enabled.

How I reviewed Life is Strange: Reunion

I completed Life is Strange: Reunion in roughly 12 hours on my PC, which is a 5070 Ti-powered model from retailer Scan. It has a compact Corsair 2000d RGB Airflow case, Asus ROG Strix B860-I motherboard, Intel Core Ultra 7 265K processor, a 2TB WD Black SN770 SSD, 32GB of DDR5 Corsair Vengeance RAM, and an Asus Nvidia 5070 Ti graphics card.

This allowed me to play the game smoothly on its highest graphics preset at 1080p, though it still didn't look too great. I played using my usual Razer DeathAdder V4 Pro mouse and Cherry XTRFY K5V2 keyboard, plus Logitech desktop speakers for audio.

First reviewed March 2026

Asus ROG Cetra Open: Two-minute review

I’ve become very fond of open earbuds recently, and was pretty excited when Asus announced the ROG Cetra Open. If you’re not familiar with the open ear style, they’re basically earbuds that clip onto your ears and have drivers that sit a few millimeters away from your ear canal rather than plug with a silicon tip.

They’re incredibly comfortable to wear and help you maintain awareness of your surroundings, which is great when you're out and about and would rather avoid getting hit by passing bikes and the like. The trade-off is generally that you lose out on noise cancellation, isolation, and the earbuds’ ability to effectively produce bass.

Open earbuds seem like a bit of a strange choice for gaming, given the fact that they are usually towards runners or gymgoers, but I think Asus might be on to a winner with the concept. The level of comfort they offer is second to none, and I always appreciate the ability to hear myself while chatting in a match.

Unfortunately, the Asus ROG Cetra Open really stumble, presumably as a result of being the brand’s first pair of open gaming earbuds. For starters, they’re ridiculously expensive at an eye-watering $229.99 / £174.99 - that’s more than many of the best wireless gaming headsets and triple excellent non-gaming alternatives such as the Huawei FreeArc Buds. While the Asus pair does sound much better overall and has vastly superior microphones, they’re still not worth such a higher cost in my eyes.

The case that they sit in is also absurdly massive. It’s big enough to be uncomfortable in your pocket and, at the point you have to carry around a rucksack just to have space for your earbuds, it’s safe to say something has gone seriously wrong in the design department. To make matters worse, it feels very hollow and plasticky, which is unacceptable in a product at this price.

All of this leaves the Asus ROG Cetra Open difficult to recommend outside of a sale or if you’re really, really desperate for an open gaming pair. Hopefully, the brand’s next attempt is cheaper and more feature-dense, because there is real potential here.

Asus ROG Cetra Open: Price and availability

• Cost $229.99 / £174.99 / around AU$330
• Available via the Asus website, Amazon, and Newegg
• Very expensive for gaming earbuds

The Asus ROG Cetra Open earbuds retail for $229.99 / £174.99 and can be purchased via the Asus website in the US and UK, in addition to Amazon and Newegg in the US.

At this price, they’re substantially more expensive than our current favorite premium gaming buds, the SteelSeries Arctis GameBuds, which go for $159.99 / £159.99 / AU$359, and you’re paying a massive premium for the open design.

For PlayStation owners, the $199.99 / £179.99 / AU$249.95 Sony Inzone Buds are another major competitor, while the PlayStation Pulse Explore earbuds are also in the mix, and offer out-of-the-box PlayStation Portal compatibility too.

They’re also pretty pricey compared to other open earbuds, costing much more than the Huawei FreeArc Buds and Honor Earbuds Open, but less than the super premium Bose Ultra Open Earbuds.

Asus ROG Cetra Open: Specs

Asus ROG Cetra Open: Design and features

• Generic, cheap-looking design
• Browser-based software
• A few gaming features

I’ll be completely honest here: I absolutely hate how the Asus ROG Cetra Open looks. They’re bulky and weirdly angular for a pair of open earbuds, and look nowhere near as sleek and stylish as the alternatives by Huawei and Honor. In fact, they look more like they’re by a weirdly named off-brand that you would find scrolling too far down Amazon rather than a major hardware manufacturer. This certainly isn’t helped by the RGB lighting with its overly garish default rainbow pattern, or the fact that the plastic materials used on each bud don’t feel too premium.

The case is just as hideous and, worse still, comically large: it’s only slightly more compact than the average mid-size phone and about four times as thick. This makes it difficult to fit in a pocket and annoying to bring around with you. Sure, lots of open-ear buds have cases on the bulkier side, but I’ve not used any quite as impractical as this. I don’t quite understand why Asus is advertising these earbuds so heavily as suitable for sports, as a result of this, as surely anyone running or at the gym would favor something with a case that's more compact.

Part of the reason the case is so big is to make room for the 2.4GHz USB-C wireless dongle. The dongle has a pass-through feature, with its own USB-C port that you can use to charge a controller, for example, but it’s an odd L-shape that tends to block more than one port when it’s plugged in.

Rather than a traditional application, the Asus ROG Cetra Open relies on a browser-based program called Gear Link. I really appreciate this, as it removes the need to install any software bloat and gives you immediate access to settings on practically any PC or phone when you need them. Major features it lets you tweak include equalizer settings (with pre-sets for gaming, movies, music, and so on), RGB lighting effects, and Immersion Mode. Immersion Mode seems to be some form of active noise cancellation (ANC), though I found that it wasn’t particularly effective at blocking even low-level background sound.

There’s also optional multipoint connectivity, letting you pair two devices at once for the times when you want to game while listening to music or taking a phone call.

Asus ROG Cetra Open: Performance

• Sound great with a surprising amount of bass
• Secure and comfortable fit
• Microphones are decent

For a pair of open earbuds, the Asus ROG Cetra Open sounds great with some surprisingly punchy bass. The sound is crisp and clean, with decent tuning out of the box - though I would still recommend selecting the flat EQ in its software. It’s hard to overstate just how comfortable they are to wear, too. I have used them for an entire day of work with absolutely no discomfort or fatigue, making them some of the most comfortable earbuds that I’ve ever used.

They’re very secure on the ears too, and can easily withstand walking or even running. The included neck band can be used for some added peace of mind, too, ensuring that they will stay on your person even if they do come loose.

The ability to hear your surroundings is also surprisingly useful, though it does come with some drawbacks. If you’re using these headphones in an office environment, you can easily chat to others without taking them out of yours and when exercising outdoors, you don’t need to worry about drowning out oncoming traffic. In a gaming context, though, it’s a bit of a double-edged sword. You’re going to hear pretty much everything in your surroundings, even if you’re playing at home, which makes it difficult to get truly immersed. The headphones do have an Immersion Mode feature, which seemingly enables some kind of ANC, but it’s not effective at blocking noise at all.

The microphones of the Asus ROG Cetra Open are decent for a pair of earbuds. They’re not broadcast quality by any means, but they do a decent job picking up your voice and will ensure that you can be heard clearly in most situations. The battery life is also nothing to complain about, with around 16 hours of use for each bud and an additional three charges held in the case.

The included dongle makes it easy to use the headphones with consoles, and cuts down potential latency, though I do find its L shape design a little awkward. If you’re not careful, it can block adjacent USB ports, though it does offer USB-C passthrough that somewhat mitigates this annoyance.

Should I buy the Asus ROG Cetra Open?

Buy it if…

Don’t buy it if…

Also consider...

After some alternatives to the Asus ROG Cetra Open? Here’s one gaming model and one more general pair of open earbuds to consider.

How I tested the Asus ROG Cetra Open

• Tested for more than a month
• Used for gaming and general music listening
• Compared against other open earbuds and gaming earbuds

I tested the Asus ROG Cetra Open earbuds for more than a month, using them as my go-to headphones for practically everything in that time. I spent hours using them for gaming on both PC and PS5 in addition to taking calls with friends over Discord. I took them with me daily to the office too, wearing them outside to listen to music and for taking meetings at work,

Throughout my time with the earbuds, I compared them frequently to many of the best gaming earbud models, particularly the SteelSeries Arctis GameBuds. I also evaluated them against open earbuds that I have tried, like the Honor Earbuds Open and Huawei FreeArc Buds.

Read more about how we test

First reviewed March 2026

Crimson Desert is easily one of the best action-adventure games of this generation. Developer Pearl Abyss provides stylish, remarkable combat in an exceptional open-world experience with spectacular visuals that make it a must-play.

It provides little to no guidance, giving players total freedom to think outside the box in both exploration and combat encounters, utilizing unique mechanics to overcome puzzles, enemy ambushes, and the other obstacles that await you.

Despite initial fears of a 'catch', Crimson Desert ticks all the important boxes for a game that will keep you coming back for more, with moments of distraction during discovery, large-scale battles, fantastic voice acting, and a strong original soundtrack to accompany players throughout their journey.

After 80 hours of playing, I still have the same smile from my first hour of diving in, as there's still so much more that awaits me in the continent of Pywel.

Getting lost in Pywel

Crimson Desert's map is absolutely massive, so much so that I had only seen eight per cent of it by the 60-hour mark. The continent of Pywel is filled with so much to discover, and I often found myself getting sidetracked and distracted on the path to main story quests in this well-crafted open world.

Whether it's a cave you've stumbled upon, full of traps to complete a puzzle, or an ambush led by a non-playable character (NPC) who fools you into believing they need your help, Crimson Desert is constantly keeping you engrossed and curious to uncover what lies beyond its main path.

As Kliff Macduff, you lead the Greymanes after a sudden ambush by fierce rivals, the Black Bears, leaving Kliff and his comrades left for dead. Your job is to find and reunite the surviving Greymanes and avenge all that was lost, but there's more than what meets the eye here.

It's important to note that Crimson Desert is not a narrative-driven game, and there's a heavier focus on the open-world sandbox and its immersive nature. Having said that, I was quite surprised to see that Pearl Abyss constructed an interesting story that not only helps you grow attached to characters among the Greymanes but also leaves you constantly wondering what lies ahead on your journey.

Following the game's grand opening, Crimson Desert gives you important starter tools and essentially allows you to freely explore any region you choose. You effectively pick your own difficulty by either seeking out gear via boss battles or finding Abyss Artifacts to unlock new skills, all early on, or head into quests or large-scale battles without them for a challenge.

Finding those Abyss Artifacts is no easy feat, as many require solving puzzles across the map. Remember when I said there was no hand-holding? You're not getting anything but a few hints with Crimson Desert's puzzles, and it felt so rewarding to complete them, as I was consistently excited to see how each new skill I unlocked would change my playstyle.

For example, you might find a puzzle with stone slabs and symbols that must follow a particular pattern for each phase. While there are potentially clues for what that pattern is in another hidden location on the map, chances are you haven't found it. Once you finally succeed through trial and error, the sense of relief is profoundly cathartic.

That applies to both puzzles in casual exploration, side quests, and main quests, so it's best to be patient with each of them. The scale of Crimson Desert's open world is something I've not seen in any game until now, and that means most players will easily pass the 50-hour mark, and still be in the game's starting region, Hernand.

Now, that doesn't mean you can't travel to any region you want; you can. However, I offer you the best of luck in doing so without finding the right gear, and levelling up accordingly, as the enemies and bosses in Crimson Desert are very unforgiving - sometimes to the game's detriment.

Suplex city

Combat in Crimson Desert is a wrestling fan's dream and more, easily standing out as the strongest aspect of the game. While there's plenty to enjoy in terms of spectacle, especially when mounting dragons, using jetpacks, or simply deploying tools like Axiom Force to traverse the map, Pearl Abyss has done a phenomenal job at making the battlefield your playground.

Once you've equipped enough Abyss Artifacts, you can either choose a build dedicated to unarmed combat, with stylish combos that reminded me of Devil May Cry 5, or one that focuses on special attacks like Force Palm.

The great thing is you can dip into both, and blend multiple styles, but you'll need to master combat and the game's controls to do so. You'll know you're beginning to grip combat when you run into formidable base enemies who can pull off some of the same moves you can, and you're able to time your dodges and parries and execute your counters before shifting back into defence, as they're quite hard to pull off consistently.

It also has you stringing particular combos together promptly, especially since certain special attacks and combos can only be executed on stunned enemies and bosses. For example, Kliff can clothesline enemies, pull off a Randy Keith Orton (RKO) — yes, I'm not kidding — a suplex, and an elbow drop all in one string if timed well, and may even save you from an ambush as their impact can push other enemies back away from you.

Fortunately, it didn't take me long to become well accustomed to the controls, which can be slightly confusing at first, especially if you're not used to intense action games. Once you can grab enemies using Axiom Force, and use the game's fundamental mechanics (which are usually ideal for puzzles) in combat, the experience excels, particularly when coming across aggressive foes.

All three playable characters in Kliff, Damiane, and Oongka have their own skill trees and weapons, and most importantly, diverse fighting styles. Using Damiane, I could grab an enemy for a ground-slamming attack, but then hit the same combination again, only for her to inflict multiple knee attacks mid-air on an enemy's face, or send them crashing into the ground again.

Enemies won't give you any waiting time either, often working by ambushing you and attacking all at once, making you stay on your toes to come out of encounters alive. It flows incredibly well, and the difficulty within normal enemy and faction encounters feels very well-balanced.

Unfortunately, that isn't the same case with some of Crimson Desert's boss battles. Two of the worst offenders have already been showcased in marketing: Kearush the Slayer and the Reed Devil.

Bosses in the game often trigger special and large-scale attacks that are capable of killing you in one hit, and there should be a fair chance to evade these attacks.

However, Kearush the Slayer has a special attack that is almost impossible to dodge, parry, or even run away from — and the only solution for me was to desperately Force Palm myself into the ceiling of the hall the fight takes place in. Kearush is also incredibly aggressive, to an unfair degree, leaving little time for you to react.

It's much worse in the Reed Devil encounter, specifically a second phase that has you destroying certain objects to continue, but you can hardly move due to the ferocious attacks that easily break through your defence.

You'll find yourself hard-pressed to defeat bosses without entering each encounter with tons of food or other healing items, because each boss gets far more aggressive through each phase, and there's no checkpoint in between each of them.

Going from challenging but fair enemy ambushes, casual open-world exploration, and fun mini-game activities, to overly aggressive boss battles in the main story made it feel like I was playing two different games at times.

I'm sure there'll be players who have a better time during these encounters, especially if care is taken to use most Abyss Artifacts on stamina and health upgrades (and perhaps if Pearl Abyss does tweak some of these encounters post-launch), but they were frustrating for me.

It's not all doom and gloom, though, as I ran into a few epic and engaging boss battles that gave me a fair opportunity to come out victorious without feeling hard done by. I just hope that, at the very least, Pearl Abyss can include checkpoints for those that feature multiple phases.

Let's get technical

I'll admit, I was worried about Crimson Desert's performance before getting my hands on it, but fortunately, those fears were quelled instantly. PC players will be glad to know that Crimson Desert runs like an absolute charm, and the BlackSpace Engine from Pearl Abyss is exceptional.

I ran Crimson Desert on an RTX 4080 Super, with 32GB of DDR4 RAM, and an AMD Ryzen 5700X3D processor. At a native 3440x1440 resolution, on the maximum 'Cinematic' graphics preset without any upscaling, I was able to hit around 70 frames per second (fps) and more in multiple graphically intense scenarios.

The optimization from Pearl Abyss here is exceptional, and as I speculated previously, it's the first title on PC I've seen in years that doesn't need to use any form of upscaling for good performance. Bear in mind, on the Cinematic preset, only 6GB of VRAM was being utilized.

It's also easily one of the best-looking games of this generation, with amazing vistas alongside cloth physics and water simulation that leave me stunned each time I take a breather while exploring.

The only issues I ran into were quality-of-life annoyances and game-breaking bugs. Reading the latter might make you panic, but don't. These were softlocks that occurred when resetting skills, which removed ones that were fundamental to game progression, and another that locked the game's camera in place after a boss battle, without any way of progressing.

I've never been a fan of constant inventory management, and unfortunately, it's at its worst here in Crimson Desert. You find yourself discarding items to free up space, and since there is no storage at the Greymane camp, it was a constant interruption to the flow of gameplay for me.

Pearl Abyss has already made improvements by fixing those softlock issues, and were very quick to respond to feedback regarding quality-of-life. The day one patch should fix many of the issues I came across in my review period, and the developers have promised a housing update for additional storage at a later date after launch.

Overall, I had an absolute blast playing Crimson Desert, and while it's not a perfect game, it's a few tweaks and updates away from being a mastercraft, and is already a strong game of the year contender.

Should you play Crimson Desert?

Play it if...

Don't play if...

Accessibility features

Crimson Desert doesn't feature any difficulty options, unlike other action-adventure games, but rather relies on player exploration and finding the right gear, effectively leaving them to form their own difficulty.

There isn't a wide range of settings available in terms of accessibility, with no colorblind options, no controller configuration options, and the inability to completely remove the game's HUD.

Fortunately, the game includes particle effects, blur intensity, and camera shake sliders, suitable for those sensitive to flashing lights during combat, and who prefer a less intense visual experience, including the choice to reduce HUD and cutscene subtitle size.

There are options to not display all three characters' accessories, but this option doesn't seem to apply to headgear, and there isn't a transmog system in Crimson Desert.

Blood can be disabled entirely, but there isn't too much on display when the setting is enabled.

Pearl Abyss has also included an option that allows you to preview the game while changing graphics settings, which is ideal for quick adjustments. DLSS and FSR Frame Generation can also be enabled or disabled without the game requiring a restart.

How I reviewed Crimson Desert

I tested both 3440x1440 (ultrawide) and 3840x2160 (4K) display resolutions, using an RTX 4080 Super, Corsair Vengeance 32GB DDR4 RAM, and an AMD Ryzen 7 5700X3D, and had no performance issues throughout my time playing.

The monitor I used was the LG UltraGear 45GS95QE OLED ultrawide, similar to the LG UltraGear GX9 45GX950A we've reviewed, thanks to its immersive 800R curvature, but it doesn't feature the 45GX950A's 5K display resolution. As for the 4K TV, it was the TCL QM8 55-inch mini-LED, taking advantage of the game's incredible lighting with high brightness.

I also tested Crimson Desert on my Lenovo Legion Go S Z1 Extreme handheld using SteamOS, and managed to achieve around 30 to 40 frames per second on the medium graphics preset with AMD FSR 3.1 balanced enabled.

My handheld testing was done early into receiving my review copy, and would barely run without using 'Proton Experimental' — without it, an error message would state that the graphics device isn't supported. I suspect performance and visuals will be much sharper after launch, and drivers are updated and suitable for the game on SteamOS.

First reviewed March 2026

Just how much should you change when remaking a beloved cult classic? It’s a difficult question, as any approach comes with its own drawbacks. Simply sprucing up the visuals and little else risks you winding up with a game that feels dated and simplistic, while sprinkling in new additions could improve the experience for newcomers but upset your most dedicated long-term fans.

Developer Koei Tecmo has clearly taken the latter route with its latest Fatal Frame 2: Crimson Butterfly remake, which has a mostly successful mix of the old and the new. The game was always visually impressive, with the 2003 PlayStation 2 original boasting some incredible fidelity for the time, but this latest remake takes that excellence to another level in its detailed, atmospheric environments and wonderfully stylized yet still believably realistic character models.

The trademark camera-based combat, a sticking point in most entries in the series, has been totally overhauled, too, with the addition of a new dodge mechanic that makes it easier to avoid damage and helps you remain in control in even the most intense encounters. Unfortunately, other alterations are much less successful and prevent this new rendition of one of the best survival horror games from living up to its full potential.

Hand in hand

It all hits the fan at a record clip when twin sisters Mio and Mayu return to the mysterious forest where they used to play as children. Now set to be flooded thanks to the construction of a massive dam, it was once the site of an accident that left Mayu walking with a limp, and Mio wracked with guilt for leaving her behind. You hardly have time to get your bearings before you spot Mayu wandering off into the forest in pursuit of a magical crimson butterfly. Following your sister, you’re soon drawn into the dark world of Minakami Village - a haunted town trapped in eternal night after a sinister ritual gone awry.

Each of the nine chapters takes place entirely within its walls, with all the intricate level design that you would expect from the survival horror genre. In addition to elaborate puzzles that block your way, every location that you explore, be it the inside of the many labyrinthine houses or the village’s winding streets, is overflowing with resources to scavenge including rare prayer beads that can be spent improving your character’s stats and equipment in a modest, but impactful, upgrade menu.

The creepy ‘ghost grab’ mechanic from later entry Maiden in Black Water has also been implemented and feels like a natural inclusion. Rather than immediately adding items on the ground or inside containers to your inventory, you reach towards them slowly with a slim chance that a ghostly enemy will grab your hand and inflict some instant damage.

You can pull away to avoid it if you’re fast enough, but the mere threat of this occurring adds a fantastic level of tension to the otherwise simple action of acquiring items. It only actually happens a couple of times too, stopping the scare from feeling cheap or overused.

The original Fatal Frame 2 was never a particularly long experience, but it was easy to set yourself back hours trying to work out exactly what you need to do in order to progress. Signposting was clearly a key concern for Koei Tecmo with this remake, and there are multiple quality-of-life changes geared towards leading you down the correct path. Whether it’s following distant sounds, spotting a spectre walking into a previously locked room, the appearance of a crimson butterfly, or simply heading to a newly marked location on the detailed world map, there was never a moment when I wasn’t sure exactly where I needed to go.

In fact, I would argue that it holds your hand a little too much at times. An example of this are the moments when you encounter the two indestructible enemies that occasionally show up and force you to flee. They pretty much only appear at one end of very linear corridors with clearly signposted hiding spots that you can use to escape, or obvious alternate routes to avoid them. I’m sure this clear design prevents frustrating game-overs, but knowing that my safety is guaranteed also removes a great deal of tension.

Duck and weave

The changes to the combat system are a mixed bag too. I know that series fans are divided over the addition of a dodge mechanic, with plenty of posts on the Fatal Frame subreddit and horror game forums arguing that it strays too far from the established formula, but for my money, it's a very positive change. Centred around snapping pictures of ghosts through a first-person viewfinder, combat in Fatal Frame has always had a steep learning curve with enemies that can shred your health bar if you happen to stand in the wrong place.

The dodge gives you a very reliable way to get out of harm's way, making your survival more predictable and consistent. It took a while for the muscle memory that I developed with the recent Mask of the Lunar Eclipse remaster to fade, but once it did I would say this new system is a dramatic improvement and, importantly, makes this infamously obtuse franchise more approachable than ever.

In contrast, I simply can’t understand why the developer found it necessary to add a new red form for enemy ghosts. Now, when you defeat one, there’s a pretty significant likelihood that they will transform into a red variant, regenerating all of their health and doling out much more damage. Aside from a few scripted boss fights this happening is, as far as I can tell, down to random chance, and it leads to ridiculous difficulty spikes early on. There were multiple occasions where I escaped a fight by the skin of my teeth using all of my film supplies and health consumables only to have my adversary transform without warning and kill me in a few hits.

The intended countermeasure? Seemingly just reloading your save (via the mercifully generous smattering of checkpoints or reliable autosave system) and trying again, hoping that it won’t happen the second time around. It’s a bizarre change that should have been reserved for new game plus or simply removed entirely, and, to make matters worse, a launch day patch has tried to remedy it by completely obliterating the balance of the standard difficulty mode. Red enemies are no longer a major problem, but that’s because every threat has been rendered completely trivial, and even the final boss now dies in just a few hits.

This is a huge shame and needs to be fixed, as it cheapens the otherwise incredibly impactful narrative. Exploring the sisters’ strained relationship and the horrific history of the village, it’s a beautiful journey of sacrifice and loss - provided the message isn’t being undercut by the newfound ability to blast through it like a Call of Duty campaign. You get a real sense of the pair’s relationship, elevated by the wonderful background music and stand-out performances by lead voice actors Erica Mendez and Xanthe Huynh.

Despite this I'm optimistic that better thought out future patches will be able to address most of my biggest complaints and, with three of the six endings under my belt, I’m still looking forward to going back to Minakami Village to uncover even more of its secrets.

Should I play Fatal Frame 2: Crimson Butterfly Remake?

Play it if...

Don't play it if...

Accessibility features

Despite the lack of a dedicated menu, Fatal Frame 2: Crimson Butterfly Remake has a few accessibility features in its settings menu. Like other Koei Tecmo ports, keyboard support is very poor on PC, with awkward bindings and mismatched icons, so a controller is highly recommended.

There are three control types to choose from, plus the option to select which thumbstick moves your character. Controller vibration can also be disabled. Subtitles are enabled throughout the game by default, though there does not seem to be a way to change their style or appearance.

How I reviewed Fatal Frame 2: Crimson Butterfly Remake

I played close to twenty hours of Fatal Frame 2: Crimson Butterfly Remake on PC using a DualSense Wireless Controller. My machine is a 5070 Ti-powered model from retailer Scan.

It has a compact Corsair 2000d RGB Airflow case, Asus ROG Strix B860-I motherboard, Intel Core Ultra 7 265K processor, a 2TB WD Black SN770 SSD, 32GB of DDR5 Corsair Vengeance RAM, and an Asus Nvidia 5070 Ti graphics card, which all allowed me to play the game smoothly on the recommended graphics preset on my 1080p Lenovo monitor. For audio, I relied on my trusty Astro A20 X wireless gaming headset.

During my time with the game, I frequently compared my experience to my playthroughs of other entries in the Fatal Frame series, most recently Maiden of Black Water and Mask of the Lunar Eclipse, in addition to other survival horror games.

First reviewed March 2026