It's a small overhaul of the original game, but owners of the "vanilla" version won't find many reasons to spill out further money on this one.

Under Siege is a real-time strategy game with many issues, although it is still able to entertain. Recommended only for those who want to enjoy at all costs a strategy game on console that takes advantage of Move.

The Dark Pictures Anthology resumes its journey grounded in certain constants—its horror roots, its focus on plot and character, and its narrative branching—but also introduces significant new elements, chief among them a fresh setting and revamped gameplay mechanics. Unfortunately, this ambition to innovate was not fully realized; the stealth mechanics in *Directive 8020* prove too rudimentary to sustain the sheer volume of sequences that rely on them, while the sci-fi setting remains anchored to stylistic conventions so ordinary that they prevent the title from standing out from the crowd. The narrative fails to build the sense of gravity that ought to define a mission to save the entire human race, though it recovers slightly thanks to a body-horror-infused finale and an intriguing concluding twist. The new map system, based on "Turning Points," is a godsend for completionists, who can finally explore every nook and cranny of the story without having to needlessly replay entire chapters; meanwhile, on the graphics and performance front, Supermassive has done a solid job, despite the lackluster nature of the art design.

It makes the gamer think about rules and limits of the virtual world, and that's an interesting thing, but in doing so it doesn't succeed in delivering a memorable experience, probably due to a rushed development.

On one hand we have a team that has always sacrificed interactivity in the name of a cinematic experience, on the other hand there is an online video game that has never made an effort to tell a real story: the meeting between these two extreme visions of the medium has given life to a strange hybrid with a fully Supermassive gameplay structure, chock-full of references to Behaviour's work but narratively lean and devoid of the fun thrills that we would have expected from the team of Until Dawn and The Quarry. Completely devoted to exploring the lore of Dead by Daylight, The Casting of Frank Stone forgets to lay out a plot that can intrigue its audience, bringing on stage a narration castrated by serious problems of pacing and a horror factor that is slow to arrive, despite the short duration of the experience.

1348 Ex Voto is a highly imperfect work that—much like its own history—thrives on dualities, on light and shadow, yet manages to leave a mark in its own way: a small *ex-voto* capable of speaking to us and our modern cages, drawing upon a Middle Ages that proves itself both intimate and relevant.

In short, an experience that can briefly satisfy fans of the genre: not incomplete or badly realized, yet absolutely anonymous and forgettable.

Because of an imprecise control system and a level design absolutely anonymous, Bloodrayne: Betrayal is a videogame only recommended to fans of the franchise or gamers in withdrawal symptoms from action in 2D.

There's still fun to be had with the good and ole Lemmings, but the control system could really do with an upgrade.

Quotation forthcoming.

Despite the early access phase, and some interesting ideas, Son of Nor is an unaccomplished game, one that really doesn't know how to take the best out of its qualities.

Death Tank belongs to a genre not so popular and common. Even if it is enjoyable and it has simple mechanics, the price is too much onerous. You can find, on the marketplace, a masterpiece of the category (Worms) for many dollars less.

A campaign ruined by the lack of a poor level design and a multiplayer unable to surprise gamers make Burning Skies a decent FPS and nothing more.

The arrival on consoles of Apsulov: End of Gods confirms the positive aspects, but also all the negative ones of the original PC release of 2019.

Travis Strikes Again: No More Heroes lives in the contradiction of wanting to pay homage to the indie philosophy in a sincere and heartfelt way, without, however, drawing out qualities that are even minimally comparable to those of the titles he cites throughout his performance.

Far from being the disaster prophesied by the genre's detractors, but the miracle desired by fans of the great artists involved this time by FuRyu, REYNATIS is a practical demonstration of how, many times, it is not enough to put together brilliant minds to give life to an authentic masterpiece. Indeed, the superficial screenplay by Kazushige Nojima and the repetitive soundtrack composed by Yoko Shimomura almost seem to suggest that not even they fully believed in the goodness of the project, whose most successful elements are hands down the artwork created by Yasutaka Kaburagi. Although limited by an extremely dated technical sector and an almost non-existent level of difficulty, the combat system of REYNATIS is quite intriguing, even if some mechanics could have been implemented with greater conviction. All things considered, REYNATIS takes home a passing grade, however the advice is to wait for the first discount before pouring into the streets of this dystopian reinterpretation of Shibuya.

Quotation forthcoming.

A shortened version of an already basic racing game, deprived of the most interesting game modes.

More interesting than well done, more original than consistent.

A standard action/platform. An old fashioned formula, with the twist of Multiplayer (partially ruined by lag).

It completely destroyed the balance between playing time and credits earned with it, making it very difficult to unlock the entire roster in acceptable time.

A Memoir Blue is a weird video game.

Linked to an already fluctuating production at the time of its debut, Gargoyles Remastered offers a pleasant graphic and sound restoration, not failing to add to the mix interesting possibilities such as real-time rewinding of the action. Unfortunately, however, it shows all the years of the original title and therefore, given its obvious limitations, it could struggle to attract the attention of anyone who was not a die-hard fan of the Mega Drive classic.

An interesting indie game, although the procedural level system is sometimes really unbalanced when it comes to the challenge it offers to the player.

The first polygonal trilogy of GTA is back on the shelves with a definitive edition that struggles to hide the results of a gestation that is perhaps all too fast, a matrix of remasters that would undoubtedly have deserved greater attention in the polishing phase. Although the three titles in the package showcase valuable technical interventions, as well as a good assortment of playful revisions, the result of the modernization process put in place by Grove Street Games stops at sufficiency. This is because the collection shows qualitative fluctuations on almost all fronts, which in some cases significantly affect the enjoyment of the experience. However, the new version of the GTA Trilogy proves to be able to offer fans hours and hours of nostalgic "juggling", as long as they are able to overlook the obvious rough edges in the offer.

Fable Heroes has a little of Fable, a family game that will not encounter the favores of the fans.

Pokémon Friends has a pleasant variety of puzzles, though it quickly becomes repetitive. The system designed to ensure replayability of the various puzzles, with the goal of collecting and obtaining as many plushies as possible, is engaging, but the experience ends there. Everything added on top of that fails to keep a product afloat. Given its truly high price on mobile and the push to purchase excessive DLC on consoles, it can only appeal to a very young audience.

There are few aspects of the game that really intrigue the player (the soundtrack, for example), while the embarrassing battle system and a dull story make Sands of Destruction inexorably sink.