Category: Technology

At WWDC 2025, Apple revealed a major visual shake-up for iOS (not to mention the rest of the company’s operating systems). This is the biggest change, aesthetically, since the shift away from the stitching, textures and skeuomorphic design of the iOS 4. It also comes with significantly fewer AI and Siri updates this time around. However, it’s the smaller touches that make iOS 26 seem like a notable improvement over its predecessor.

I’ve been running the iOS 26 developer beta for the last two weeks and here’s how Apple’s new Liquid Glass design — and iOS 26 broadly — stacks up.

Liquid Glass changes everything

iOS 26 looks new and modern. And for once, how Apple describes it — liquid glass — makes sense: it’s a lot of layers of transparent elements overlapping and, in places, the animations are quite… liquidy. Menus and buttons will respond to your touch, with some of them coalescing around your finger and sometimes separating out into new menus.

Liquid Glass encompasses the entire design of iOS. The home and lock screens have been redesigned once again, featuring a new skyscraping clock font that stretches out from the background of your photos, with ever-so-slight transparency. There’s also a new 3D effect that infuses your photos with a bit of spatial magic, offering a touch of Vision Pro for iPhone users.

The experience in the first few builds of the iOS 26 beta was jarring and messy, especially with transparent icons and notifications, due to those overlapping elements making things almost illegible. Updates across subsequent releases have addressed this issue by making floating elements more opaque. There is also a toggle within the Accessibility tab in Settings to reduce transparency further, but I hope Apple offers a slider so that users can choose exactly how “liquid” they want their “glass” to be. If you own other Apple products, then you’ll come to appreciate the design parity across your Mac, iPad and Apple Watch.

One noticeable change I’d been waiting for was the iOS search bar’s relocation to the bottom of the screen. I first noticed it within Settings, but it reappears in Music, Podcasts, Photos and pretty much everywhere you might need to find specific files or menu items now. If, like me, you’re an iPhone Pro or Plus user, you may have struggled to reach those search bars when they were at the top of the screen. It’s a welcome improvement.

Visual Intelligence

With iOS 26 on iPhones powerful enough to run Apple Intelligence, the company is bringing Visual Intelligence over to your screenshots. (Previously it was limited to Camera.) Once you’ve grabbed a shot by pressing the power and volume up buttons, you’ll get a preview of your image, surrounded by suggested actions that Apple Intelligence deduced would be relevant based on the contents of your screenshot. 

Managing Editor Cherlynn Low did a deep dive on what Visual Intelligence is capable of. From a screenshot, you can transfer information to other apps without having to switch or select them manually. This means I can easily screenshot tickets and emails, for example, to add to my calendar. Apple Intelligence can also identify types of plants, food and cars, even. If there are multiple people or objects in your screenshot, you can highlight what you want to focus on by circling it. There aren’t many third-party app options at this point, but that’s often the case with a beta build. These are features that Android users have had courtesy of Gemini for a year or two, but at least now we get something similar on iPhones.

One quick tip: Make sure to tap the markup button (the little pencil tip icon) to see Visual Intelligence in your screenshots. I initially thought my beta build was missing the feature, but it was just hidden behind the markup menu.

More broadly, Apple Intelligence continues to work well, but doesn’t stand out in any particular way. We’re still waiting for Siri to receive its promised upgrades. Still, iOS 26 appears to have improved the performance of many features that use the iPhone’s onboard machine learning models. Since the first developer build, voice memos and voice notes are not only much faster, but also more accurate, especially with accents that the system previously struggled with.

Apple Intelligence’s Writing tools — which I mainly use for summarizing meetings, conference calls and even lengthy PDFs — doesn’t choke with more substantial reading. On iOS 18, it would struggle with voice notes longer than 10 minutes, trying to detangle or structure the contents of a meeting. I haven’t had that issue with iOS 26 so far.

Van life vlogger, bald or running for Congress?

Genmoji and Image Playground both offer up different results through the update. Image Playground can now generate pictures using ChatGPT. I’ll be honest, I hadn’t used the app since I tested it on iOS 18, but the upgrades mean it has more utility when I might want to generate AI artwork, which can occasionally reach photorealistic levels.

One useful addition is ChatGPT’s “any style” option, meaning you can try to specify the style you have in mind, which can skirt a little closer to contentious mimicry — especially if you want, say, a frivolous image of you splashing in a puddle, Studio Ghibli style.

Apple also tweaked Genmoji to add deeper customization options, but these AI-generated avatars don’t look like me? I liked the original Genmoji that launched last year, which had the almost-nostalgic style of 2010 emoji, but still somehow channeled the auras of me, my friends and family. This new batch are more detailed and elaborate, sure, but they don’t look right. Also, they make me look bald. And contrary to my detractors, I am not bald. Yet. This feels like a direct attack, Apple.

You might feel differently, however. For example, Cherlynn said that the first version of Genmoji did not resemble her, frequently presenting her as someone with much darker skin or of a different ethnicity, regardless of the source picture she submitted. 

Still, the ability to change a Genmoji’s expression, as well as add and remove glasses and facial hair through the new appearance customization options, is an improvement.

A Camera app redesign for everyone

Apple has revisited the camera app, returning to basics by stripping away most of the previously offered modes and settings — at least initially — to display only video and photo modes.

You can swipe up from the bottom to see additional options, like flash, the timer, exposure, styles and more. You can also tap on the new six-dot icon in the upper right of the interface for the same options, though that requires a bit more of a reach. These behave in line with the new Liquid Glass design and you’ll see the Photo pill expand into the settings menu when you press either area. Long-pressing on icons lets you go deeper into shooting modes, adjusting frame rates and even recording resolutions.

What I like here is that it benefits casual smartphone photographers while keeping all the settings that more advanced users demand. None of the updates here are earth-shattering, though. I hope Apple takes a good look at what Adobe’s Project Indigo camera app is doing — there are a lot of good ideas there.

One extra improvement if you use AirPods: Pressing and holding the stem of your AirPod (if it has an H2 chip) can now start video recording.

Apple Music tries to DJ

Alongside the Liquid Glass design touches, the big addition to Apple Music this year is AutoMix. Like a (much) more advanced version of the crossfade feature found on most music streaming apps, in iOS 26, Music tries to mix between tracks, slowing or speeding up tempos, gently fading in drums or bass loops before the next song kicks in. Twenty percent of the time, it doesn’t work well — or Apple Music doesn’t even try. But the new ability to pin playlists and albums is useful, especially for recommendations from other folks that you never got around to listening to.

Messages get a little more fun

Apple is making Messages more fun. One of the ways it’s doing so is by enabling custom backgrounds in chats, much like in WhatsApp. I immediately set out to find the most embarrassing photo of my colleague (and frenemy) Cherlynn Low and make it our chat background. I know she’s also running iOS 26 in beta, so she will see it. [Ed. note: Way to give me a reason to ignore your messages, Mat!]

Apple’s Live translation now works across Messages, voice calls and FaceTime. Setting things up can be a little complicated — you’ll first need to download various language files to use the feature. There’s also some inconsistency in the languages supported across the board. For instance, Mandarin and Japanese are supported in Messages, but not on FaceTime yet. In chats, if your system language is set to English or Spanish, then you’ll only be able to translate into English or Spanish. For those polyglots out there, if you want to translate incoming Japanese texts into German, you’ll need to set your device’s language to German.

While I didn’t get to flex my Japanese abilities on voice calls and FaceTime, iOS 26 was more than capable of keeping up with some rudimentary German and Spanish. I’m not sure if I’d rely on it for serious business translation or holiday bookings, but I think it could be a very useful tool for basics. 

There’s also the ability to filter spam messages to their own little folder (purgatory). Spam texts remain a nightmare, so I appreciate any potential weapons in the fight. Sadly, it hasn’t quite manage to deal with the TikTok marketing agencies and phone network customer services that continue to barrage my Messages. Still, hopefully Apple will continue to improve its detection algorithms.

One more tool in the battle against spam: You can mute notifications for Messages from unknown numbers, although time-sensitive alerts from delivery services and rideshare apps will still reach you.

New apps are hit-or-miss

Not everything in the beta lands, however. I’ve already touched on how Liquid Glass was initially a semi-transparent mess. The Games App, too, seems like an unnecessary addition. Because it’s a blend of the Games tab of the App Store and a silo of your preinstalled games, I’m not sure what it’s adding. It’s not any easier to navigate, nor does it introduce me to games I want to buy.

Cherlynn did want to highlight that for a casual gamer like herself, it’s intriguing to see if the Games app might start to recommend more mind-numbing puzzles or farming simulations. She was also intrigued by the idea of a more social gaming experience on iOS, issuing challenges to her friends. Still, because the phone she has been testing the beta on doesn’t have access to all her contacts or her gaming history, the recommendations and features are fairly limited at the moment.

Games is one of two new apps that will automatically join your home screen. (Fortunately, they can be uninstalled). The other is Preview, which should be a familiar addition to any Mac user. It offers an easy way to view sent or downloaded files, like menus, ticket QR codes and more. During the developer beta, the app pulled in a handful of my documents that previously lived in the Files app. Navigation across both those apps is identical, although Preview is limited to files you can actually open, of course.

AirPods, upgraded

This is more iPhone-adjacent, but iOS 26 includes several quality-of-life improvements for some of Apple’s headphones. First up: notifications when your AirPods are fully charged, finally! The Apple Watch got this kind of notification back in iOS 14, so it’s great to see Apple’s headphones catch up.

Apple is also promising “studio-quality sound recording” from the AirPods, augmenting recordings with computational audio improvements. There’s a noticable bump in audio quality. It appears that AirPods 4 and AirPods Pro 2 will record files at a sample rate of 48 kHz, which is double the rate used in the past. The sample rate bump happened last year, but it is dependent on what the app you’re using. Is it “studio quality”? I don’t think so, but it’s an improvement. While recordings sound slightly better in quiet locations, the bigger change is in loud environments. The algorithm doesn’t appear to be degrading audio quality as much while trying to reduce background noise.

iOS 26 also adds sleep detection to the buds. If the AirPods detect minimal movement, they’ll switch off automatically, which could be helpful for the next time I’m flying long-haul.

Wrap-up

In iOS 26, Apple has prioritized design changes and systemwide consistency over AI-centric software and features. While Liquid Glass is a big change to how your iPhone looks, Apple has drawn from user feedback to finesse the design into feeling less jarring and gelling better when the home screen, Control Center and Notification drop-downs overlap with each other.

There are numerous quality of life improvements, including Messages and Visual Intelligence, in particular. If anything, the AI elephant in the room is the lack of any substantial updates on Siri. After the company talked up advanced Siri interactions over a year ago, I’m still waiting for its assistant to catch up with the likes of Google.

This article originally appeared on Engadget at https://www.engadget.com/mobile/smartphones/ios-26-preview-liquid-glass-is-more-than-just-a-visual-refresh-172155733.html?src=rss 

I’m not going to beat around the bush: iPadOS 26 and its new multitasking features are a game-changer for Apple’s tablets. Pretty much ever since Steve Jobs introduced the iPad 15 years ago (!), Apple has tried to straddle two worlds. In one, the iPad is a super-simple, easy-to-use tablet with a gorgeous display and tons of good apps from the App Store for gaming, entertainment and light work. The other world is one where the iPad replaces your traditional computer, letting people do the serious work that’s been typically reserved for a Mac or Windows PC. iPadOS has too often served as a hindrance to the latter goal over the years, particularly as the iPad Pro has gotten more powerful.

The Stage Manager multitasking experience Apple introduced with iPadOS 16 in 2022 was a major step towards making the iPad’s software suitable for power users — but it was rather buggy at launch and not as flexible as iPad power users were hoping for. The calls to just put macOS on the iPad grew louder. But this year, Apple took a different approach: it brought crucial macOS features like the familiar “stoplight” window controls, the menu bar at the top of the screen and vastly improved window management tools to iPadOS 26. The result is an iPad experience where you can easily jump between multiple windowed apps set up just how you like and one where you go full screen to focus on your content. It’s a massive refinement over the old Stage Manager experience and one that I think will finally satisfy iPad die-hards who want to push their tablets to the limit.

Before diving into the details, a quick word on betas and stability. As usual, Apple’s public betas feel pretty stable and capable, but that doesn’t mean you won’t run into weirdness here and there. App crashes, particularly with third-party apps, happened far more on this beta than with iPadOS 18. I’m confident those things will be ironed out as more developers update their apps for the new OS, but you’ll also run into things like UI inconsistencies and occasional stutters and jerkiness when jumping between apps. As we always say, think hard about what you’re willing to put up with to try a beta, even the relatively stable public beta. After all, the final version of iPadOS 26 will be out in just a few months.

Multitasking

Time for the nitty-gritty. When you update to iPadOS 26, you’ll be asked if you want to enable multitasking or have apps run in full screen mode only. When Apple says full screen only, they mean it. Past versions of iPadOS offered either Stage Manager or a basic, two-app split screen view with a third app available in a Slide Over window. The latter option is gone now, though you can still easily set up two or three apps side by side with iPadOS 26’s window tiling features. You can use multitasking mode or full screen only, with no in between. I think that’s a smart move, as plenty of people who use an iPad probably never use these multi-app features, and having a “multitasking on or off” toggle keeps things simple.

When you turn on multitasking mode, apps still open in full screen first — but you can grab any corner of the window to resize it or touch the top of the app and drag it around the screen. You could already do this with Stage Manager, so what really sets this new mode apart is how it interacts with other windows. Swiping up from the bottom of the display reveals the usual Home Screen view, but with your apps tucked to the side as a visual cue that you can add another app to that group. And, as before, you can move, resize and stack that app window wherever you want.

As I’m writing this, I have nine separate app windows open on my iPad, and getting around them feels more Mac-like than ever before. I can swipe up and hold from the bottom of the Home Screen and see every open app in a smaller window, which makes finding the specific thing I want a lot easier; I can also just command-tab through them. Apps can be minimized down to the dock and when I want the app back, it’ll pop open in the same size window and same placement as before. Swiping up from the bottom of the screen twice minimizes everything I have open to start fresh — but again, if I reopen those apps, they’ll go back to exactly where I had them set up before.

I realize it sounds kind of silly to make a big deal of this, but it’s hard to overstate how much this improves the iPad multitasking experience. With Stage Manager, I was never quite sure where an app would open or if it would be full screen or windowed. It can be useful for setting up multiple groups of apps, but adding and removing apps from that view was not terribly intuitive. Just opening everything in one space is a lot more intuitive. And if you want to have various different spaces with specific apps, you can still turn on Stage Manager. It’s a lot easier to add and remove apps from various different groups than it used to be; minimizing a window puts it into its own space that you can add more apps to (or just use it on its own).

There are a few other new components that make multitasking work as well as it does. These should be quite familiar to Mac users: The three-button “stoplight” controls and the menu bar. The stoplight buttons replace a similar three-dot window management system from older versions of iPadOS but are far more intuitive. The red one closes an app window entirely, the green one makes a window full screen and then yellow one minimizes it to the dock. These controls are crucial to making iPadOS 26 feel more flexible and fluid than ever before, particularly if you want to have more than one window of a single app open. I’ve also found them to be crucial when working with multiple apps on a smaller display, like on the 11-inch iPad Pro. Stage Manager usually felt like more trouble than it was worth on anything but a 13-inch iPad, but these new multitasking features make it easy to flip through a bunch of apps and pop into full screen if I need more space.

The expanded window tiling controls here also make that easier. If you press and hold the stoplight buttons, you’ll get more options to resize apps to take up a quarter, third or half the screen; you can also grab drag bars to further adjust how much space each app takes up. I really liked a mode where three iPhone-sized apps fill the screen, and when there was something I wanted to devote more focus to, I just hit its green button and went full screen.

The menu bar, meanwhile, is pretty easy to explain. If you swipe down from the top of the screen (or move your trackpad cursor up to the top) you’ll see familiar menus like File, Edit, Window and so on. It’s a handy way to find more advanced controls for an app, and it also keeps the various toolbars in apps from getting too overloaded with options.

Long story short, this all adds up to a wildly improved iPad experience. It doesn’t compromise the single-screen, focused mode that the iPad has always been known for, and it greatly improves working across multiple windows and apps. And unlike Stage Manager, which was limited to M-series iPads, these new multitasking features will work on any iPad that can run iPadOS 26, including the base A16 iPad and the iPad mini.

Everything else

If this was the only change to iPadOS Apple made this year, it would already be a worthwhile upgrade, but there are a bunch of other improvements coming this fall. These include an improved Files app, the Preview app that has long been a core part of macOS, the new Liquid Glass design, some potentially useful Apple Intelligence features, a nice set of updates to the Messaging app and a new Phone app.

Much has been said about Liquid Glass, with tons of prognostication about how Apple was ruining usability and throwing its UI back to 2006 in a blatant Windows Aero ripoff. As usual, the truth is much more nuanced. No one familiar with Apple’s software will be thrown off by this update — everything works as it did before, and while you’ll definitely notice some refractive visual elements, it’s not the wholesale change that aggrieved social media posters would have you believe. You can make things look very different if you, say, opt for the new clear glass icon look, but you can also leave the standard colorful iOS icons in place.

The Music app’s Now Playing bar is a perfect place to see iPadOS 26’s Liquid Glass transparency in action.

Over the course of the developer betas Apple has released since WWDC, the company has responded to feedback and reduced some of the transparency effects that were present in the first version of Liquid Glass — as it turns out, submitting feedback during a beta works! (Interestingly, they bumped some of the transparency back up in the fourth developer beta, right after turning it down in beta 3. This is still a work in progress.) Probably the biggest functional change is that app controls, toolbars and sidebars float over apps in a new, distinct layer rather than being wholly separate from an app’s content — but again, it’s not the kind of thing that’ll faze anyone who has been using an iPad or any other Apple device.

Preview isn’t exactly a thriller, but it’s a much better way to work with PDFs and images than the old interface that launched them in a separate Files window. You can still find PDFs in Files easily enough, but actually dealing with the document in a separate app is better than making Files pull double duty.

Speaking of Files, it has even more in common with the Mac Finder than before. You can now put specific folders in the dock for faster access to whatever you’re working on, and the app list view has resizable columns and collapsible folders, just like on the Mac. You can also add emoji and colors to folders for more visual differentiation (and, let’s be honest, a little more fun). And for the first time, you can pick specific apps to open different file types by default — so if you’d rather have PNG images open in Photomator than Preview, go nuts.

There are also major updates to the communication experience across the board in iPadOS 26. The FaceTime app got a nice redesign with large contact posters of your recent calls. But what’s most handy here is that the FaceTime app no longer tries to do double-duty with voice calls. A dedicated Phone app handles that now. Assuming you also have an iPhone, you’ll see all your recent voice calls and voicemails here and you can quickly place a new call through your contact list or using a traditional dialer. I’ve always liked the idea of being able to place calls on devices I’m using during the work day like my Mac or iPad, and this makes it far easier.

Messages is getting some fun visual enhancements like backgrounds for your conversations, but the thing I’m most interested in is message filtering. The app now identifies unknown senders and puts those messages in a separate folder, and there’s also a new spam folder where it drops messages that Apple strongly believes are spam.

If a message gets filtered into unknown senders or spam, you can mark it as known even if the contact isn’t in your address book and those messages will end up in your main view by default. The system also attempts to recognize when a message from an unknown sender is timely and needs to be delivered to your main inbox — something like a delivery person saying they’re nearby or other urgent content like a two-factor authentication code. This feels primarily like a phone-first feature; I get messages on my iPad, but haven’t seen much get filtered directly to spam or unknown callers yet. Once all my devices are running Apple’s latest software, we’ll see how that goes, but I’m still very excited about any feature that’ll help combat the deluge of spam messages that plague my inbox.

For more details on the updated communications experience and other new features like the Apple Intelligence-powered Live Translation, I’ll point you to my colleague Mat Smith’s iOS 26 overview. As is usually the case, nearly every feature coming to the iPhone this year is also coming to the iPad, meaning Live Translation will arrive on the tablet too.

There’s a lot more here that I haven’t been able to get to, like improved background tasks that let you export a video without keeping the app in focus, updates to Genmoji and Image Playground, the Journal app finally coming to iPad, Apple Intelligence-powered Shortcuts updates and much more. I’ll be continuing to check out how things change between now and the final release this fall, but even based on my experience with the recent beta, I’m quite pleased with where iPadOS 26 is at. The updates to multitasking are so significant that I can’t imagine going back to an iPad without them. 

This article originally appeared on Engadget at https://www.engadget.com/mobile/tablets/ipados-26-preview-a-long-awaited-multi-tasking-update-pays-off-so-far-172522054.html?src=rss 

The best Nintendo games do two things. The first is introducing a delightful gaming mechanic — take Ultrahand in The Legend of Zelda: Tears of the Kingdom or Cappy in Super Mario Odyssey for some recent examples. The second is building a world around that mechanic for players to explore. Obviously games are more than one specific tool, and building a compelling game around a good mechanic is no small task. But when it all comes together, look out. You’ve got a game that people will remember for years, if not decades.

It’s a little early in the Switch 2’s lifecycle to say definitively that Donkey Kong Bananza is a game of that caliber, but after playing it for the better part of a week I can say that the “smash everything” mechanic that defines its gameplay is an absolute delight. And, just as importantly, Nintendo built a wonderful world around it, completely with varied levels and obstacles, charming characters, bizarre and delightful enemies, some catchy tunes and just enough challenge to keep it interesting. 3D platformers aren’t even my favorite game style — I prefer Super Mario Wonder over Odyssey, and I love the various Donkey Kong platformers going back to the SNES days. But Bananza makes consistently good use of every dimension you can play in, and it’s the kind of game that I’m going to keep exploring long after I roll credits.

To back up quickly: Bonanza introduces us to Donkey Kong and his smashing skills in a somewhat lengthy tutorial where you bust through a mine looking for gold. This sequence involves mashing the Y button to bust up the rocks around you and collect all the treasures that are revealed. DK can jump, climb many surfaces, rip up pieces of the terrain to throw and pound the ground to quickly collect treasure, but the main thing you’re doing here is smashing. Smashing as much as possible. You can smash above you, below you and in front of you, and you can smash almost any surface you encounter (the game helpfully makes it obvious when a surface is impervious to DK fists.)

At first, I thought I was going to get tired of all the smashing — the tutorial made it feel like mindlessly mashing Y was going to be all I was going to do in the game. But then the expected villain appears, stealing the Banandium gems (just go with it) and DK is compelled to dive deeper and deeper into the crust of the planet to get his bananas back. Once that happens, the game truly reveals itself: each “world” you need to clear is a layer of the planet, but this being a Nintendo game none of the rules apply. Lagoon Layer is up first, and there’s clear blue skies, water everywhere and varied terrain to explore (and smash). Residents of each layer will direct you to help clean up the trouble wrought by the three Kong creatures who make up VoidCo, the dastardly antagonists who stole the bananas.

Bananza is good about guiding you from goal to goal while also giving you tons of freedom to explore and navigate the layers in any way you see fit. My guess is that the first thing you’ll do is smash everything in sight. The smash mechanic on its own in the tutorial level didn’t feel all that exciting, but putting it into the context of beautifully crafted 3D worlds to explore makes it an absolute delight. You can basically go anywhere you can see, and you can smash nearly anything the game puts in front of you.

It’s hard to pinpoint exactly what makes smashing so satisfying, besides the obvious and undeniable fact that destruction is fun. But the combination of visual, haptic and audio cues combine to make it something that absolutely does not get old despite my initial reservations. The crunch of smashing through rocks and mountains just feels different than when you’re pounding your way through dirt or splintering giant trees. And smashing also equals exploration — if you see a mountain you can just pound your way into it to find gold, fossils (that you can exchange for upgraded costumes), power-ups and, most crucially, Banandium gems.

The Banandium gems are similar to the stars or moons or whatever else other 3D platformers have you collect as you explore. Some you’ll get naturally as you progress through the game and defeat various bosses, but there are dozens hidden around each layer that you’ll want to seek out, as getting five gives you an upgrade point. Those you can use to add more health, and upgrade DK’s various skills (like being able to smash through tougher terrain). There are also little hidden challenge levels that throw some tough platforming or timed battles at you with multiple bananas as a reward. There are a ton of ways to find bananas, and tons of them scattered around the various levels. I’m not exactly rushing through the game (there’s so much to smash, you see), and I don’t think I’ve found more than half of the bananas in any of Bananza’s layers.

Donkey Kong Bananza is more than just smashing, though! I’d be remiss if I didn’t mention the game’s secondary protagonist, Pauline. It’s reasonable if you don’t know her by name; she’s the damsel in distress in the old ‘80s Donkey Kong games but more recently showed up in Super Mario Odyssey as the mayor of New Donk City who loves to belt out a tune. In Bananza, Pauline is a 13-year-old who was captured by the VoidCo crew but is rescued by DK early in the game. From there, she sits on your shoulder as you work together to achieve your ends: Pauline needs to get to the planet’s core to eventually get back to the surface and DK needs to get the VoidCo Kongs to get his Banandium gems back.

Pauline’s love of singing becomes a crucial part of the game, as her voice guides to checkpoints, unlocks hidden areas and, most importantly, activates various special powers that DK gains throughout the game. Multiple layers have delightfully ridiculous Elder animals presiding over them, including a giant ape, ostrich and zebra. Most of them have peacefully retired in their layers and have taken up DJing as a hobby; if you repair whatever damage VoidCo has caused, they’ll grant you a new Bananza power. The Kong power supercharges DK’s punches, while the Ostrich power lets you temporarily fly and float. Naturally, these powers end up being crucial to advancing in the game.

They’re all activated by different songs that Pauline learns, and those cut scenes are some of my favorite parts of the game. As a 13-year-old, she’s not exactly comfortable singing in front of the big crowds gathered by the Elders, but she gets over it, performs with gusto and starts a wild dance party. As with most Nintendo games in this style, Pauline doesn’t get a ton of character development — but watching her bond with DK and become more confident throughout her side chatter during the game is extremely sweet. One of my favorite moments in the game happens when DK takes a nap at the various hideouts you find to recover your energy. As the screen darkens for your nap, Pauline starts chattering about the world you’re in or the adventures you’ve had, and it all feels like a kid trying to talk to their parents to avoid falling asleep. She gets drowsy, starts making a little less sense and eventually nods off. It’s an unexpected and totally unnecessary (and optional) part of the game, but it really gives Pauline a personality.

I’m in the last stages of the game, and at this point I’m playing as much to see what happens with Pauline and DK as I am to keep smashing more things. That somewhat unexpected combo of heart and destruction has kept me engrossed in Donkey Kong Bananza for the last week, and there’s a ton of replayability that’ll likely have me starting a new run once I finish this one. There’s so much to explore, so many Banandium gems to find, so much to smash. It might not be the system-seller that something like Mario Kart World is, but it’s the first truly great game for the Switch 2.

This article originally appeared on Engadget at https://www.engadget.com/gaming/nintendo/donkey-kong-bananza-review-nintendos-latest-3d-platformer-is-an-instant-classic-143048108.html?src=rss