I Hate This Place is recommended for those seeking authentic, edgy, and uncompromising survival horror, and for those willing to endure frustration and disorientation in exchange for an intense, disturbing, and artistically unique experience. An uncomfortable, imperfect journey, but precisely for this reason profoundly consistent with its title and its vision.

Ultimately, Marathon presents itself as a kind of digital Rorschach test in which each player projects their own tolerance thresholds for frustration and aesthetic fascination: it is a work dedicated to gunplay fetishists who demand a physical response to every mouse input, and to those who, tired of the reassuring linearity of modern blockbusters, seek the thrill of fragmented and brutal storytelling. The shift toward the extraction shooter genre proves to be a bold strategic move to test the limits of competition, attracting anyone curious to see how the DNA of 1994 has mutated under Ziegler’s vision, while simultaneously forcefully repelling those who look for a guided approach or a minimalist UI. It is not a game for those who detest extraction anxiety or the permanent loss of loot, since the absence of waypoints and the informational overload of the HUD require a cognitive investment that many might find exhausting. Those with modern hardware and ultrawide displays will derive the greatest visual pleasure from this chromatic jungle, but they will still have to reckon with a system that gives nothing away and turns every mistake into a definitive erasure. Marathon, ultimately, is a technological shell that admits no compromises: either one accepts living within its distortions, or one is rejected by the system like obsolete code.

Death on the Nile manages to entertain and keep you engaged, with a story that still feels compelling after so many adaptations. The new ideas don’t always land and some choices feel like missed opportunities. Still, it’s an adventure that flows well and offers a few enjoyable hours to anyone who loves detective stories.

I expected much more from this game, and I'm not referring to the graphics or the story, which nevertheless does an excellent job of drawing the player's attention to the vast semi-open world. The simplistic gameplay and lack of refined level design, combined with a combat system that certainly has a good variety of weapons, don't always deliver the feel every player deserves, and as a result, the developers only partially achieved their goals.

Lost Soul Aside is an action game that never tries to hide its derivative nature, in a festival of references that openly shows the many sources of inspiration used by the Ultizero team. Technically fair and nothing more, the title suffers from some bugs which, aside from a few camera issues, fortunately almost never ruin the flow of the game. Gameplay itself, though also derivative, turns out to be varied and sufficiently deep, especially against bosses and tougher opponents. The point is that Lost Soul Aside doesn’t invent anything and borrows heavily from titles that made action RPG history, but it manages to do so well, at least as far as playability is concerned—and that’s enough to entertain fans. Sure, the story and characters won’t go down in history, and we’re not dealing with a masterpiece, but the feeling during combat makes Lost Soul Aside a more-than-decent title. That said, at full price it may easily discourage even those who are just looking for a good action game.

Taken as a game, KARMA: The Dark World is well-crafted but has modest length and complexity. However, when viewed as an interactive cinematic experience, it becomes a rather profound work that draws heavily from the greatest dystopian and science fiction masterpieces to immerse the player in a captivating story. The recommendation, therefore, is to approach it with this second perspective in mind.

Tomodachi Life does offer a dreamlike life, but for now it will mainly appeal to those who enjoy meticulously customizing every detail of their characters and have someone nearby to share their creations with. The base package is hilarious, yet somewhat lacking, and it runs out of steam fairly quickly. As a result, it’s hard to wholeheartedly recommend it to everyone, although there are plenty of interesting possibilities should future updates expand the experience. Still, if cozy vibes and pure nonsense are your thing, the Mii will welcome you to their island with open arms. In their own peculiar way.

Pathologic 3 is a psychological horror game for a select few, a niche title that requires nothing short of divine patience to progress through its events. As if that weren’t enough, it also introduces time travel, which could have opened the door to even more rewarding narrative developments, had it not been implemented so sparingly. We found ourselves facing a demanding, strange, and difficult production, with an absolutely complex plot. The lack of Italian localization makes it even less of a game suitable for everyone. However, if you manage to overlook some issues, the overall experience isn’t that bad, especially thanks to convincingly written characters. Who do we recommend it to? Certainly to longtime fans of the franchise (even though they will notice some differences compared to the previous installment) and to those looking for a true horror challenge with strong narrative depth. That said, you may also experience moments of frustration and discouragement: you’ve been warned.

Half Away is the first game from Italian team Better Half Team. Inspired by Slavic and Japanese folklore, it offers an engaging story from the very beginning, with puzzles that are as simple as they are stimulating and enjoyable. The different areas available make the experience even more dynamic, although it is very short. It's not a perfect game, of course, but it's an excellent debut.

If you missed the rugged goblin, then you'll be able to relate to it just as you did with the previous installments. And despite a few stumbles, fans of the genre will have a blast.

Killing Floor 3 delivers on its promise of brutal combat and satisfying weapon feedback, offering moments of adrenaline-fueled chaos that feel tactile and intense. The gunplay is sharp, and close-quarters fights can be thrilling, especially for players looking for raw, straightforward action. However, beneath the surface lies a game that struggles to justify its existence as a full sequel. Mission structure becomes repetitive quickly, co-op elements feel underdeveloped, and boss fights often devolve into chaotic bullet sponges. The perk and crafting systems, while ambitious, lack meaningful progression and fail to keep the gameplay loop engaging. Technically, the game performs well on Xbox Series X, but its visuals, level design, and presentation rarely rise above the average. Killing Floor 3 plays well enough—but in a genre that’s evolving rapidly, it feels stuck in place, offering fleeting thrills without long-term hooks.

The Deadly Path is a jumble of good ideas thrown together haphazardly. The result is a confusing level design that explains almost nothing, despite the lengthy tutorial. It's not entirely bad, but it's also not designed to truly capture the player's attention beyond a few games. Hopefully, future revisions will improve it.

The Last Case of John Morley is a small, atmospheric noir that relies heavily on environmental storytelling and strict linearity. It’s short, cohesive, and supported by surprisingly strong voice acting, but lacks suspense, emotional depth, and memorable twists. A solid pick for fans of slow-paced narrative walking sims, though less appealing to players seeking tension or mechanical variety.

Playing Vampire: The Masquerade – Bloodlines 2 leaves behind a strange aftertaste — that of a game that tried, sincerely, to rise again, but never fully escaped the shadow of its own name. It’s a work burdened by expectation: a legacy of moral choice, seduction, and freedom that here survives only in fragments, like memories of a dream once vivid and now fading. The Chinese Room has crafted a game visually arresting and tonally melancholic, a beautiful echo of the World of Darkness brought to life with care and conviction. Yet beneath that cold, magnetic surface, the design falters. Its mechanics rarely match its ambitions, its choices lack real impact, and the immersive role-playing tension that once defined Bloodlines feels reduced to an illusion.

Legacy of Kain: Ascendance is simultaneously everything we wanted and everything we didn’t from this franchise. Crystal Dynamics and Bit Bot Media skillfully use the character of Elaleth to recount the behind-the-scenes events that shaped Nosgoth, introducing a series of narrative elements that pave the way for the saga’s future. On the flip side, however, the artistic and gameplay offerings fail to satisfy those who have waited over 20 years for a new chapter. With the exception of the voice acting and a soundtrack that matches the quality of previous entries, Ascendance represents a technical step backward in every respect. For those who love 2D platformers or can look past a low-budget aesthetic and gameplay, there is a well-told story here; one that lays the groundwork for a future that will hopefully head in a different direction.

City Hunter returns to current-generation consoles in a remaster that doesn't just do its homework, but delivers a complete version of a very niche title aimed at the game's most die-hard fans. It's a faithful port of the original PC Engine version (also localized in Italian) with numerous bug fixes and gameplay tweaks to bring it more in line with modern times. However, there are limitations stemming from its age, some "gameplay niggles" that make this formula too repetitive and (perhaps) lacking appeal, not to mention a meager running time that doesn't fully justify its asking price. Nevertheless, City Hunter fans will be happy to embark on this new mission and, more precisely, (re)discover a forgotten title brought to life in a new light for all lovers of the game and video games in general.

Hunt The Pale Gods is one of those games that gets the job done, but not very well. Among indie games, the card game genre is definitely a highly sought-after one, and this title has some good ideas up its sleeve. Unfortunately, the difficulty settings, minimal rewards, and low replayability make it a forgettable experience.

Two Point Museum attempts to bring the vastness of its content to Switch 2, but the price to pay is a series of technical issues that increase as the museums expand. The mechanics are all there, but customization beyond a certain limit is handled with difficulty by the Nintendo console, causing jerks, glitches, and crashes. The attempt is commendable, but if you can, it's better to play it elsewhere.

Goosebumps: Terror in Little Creek is a straightforward adaptation of R.L. Stine’s universe that captures the franchise’s playful horror but struggles to deliver lasting suspense. Its cartoonish art style is consistent, and the haunted book stands out as the most creative gameplay element. However, the experience quickly becomes predictable, with repetitive puzzles, basic stealth sequences, and a linear narrative that rarely surprises. The game works well as an accessible entry point for younger players or a nostalgic diversion for longtime fans, but lacks the depth and tension needed to leave a lasting impression.

Sudden Strike 5 is an unusual strategy game where, despite the presence of tactical pause, the real-time gameplay remains strongly at the forefront. Players are required to maintain a high level of attention and react quickly, both when planning their own moves and when responding to enemy actions. The ability to choose a commander and take advantage of their different perks adds variety to the missions, allowing them to be approached with different playstyles to a certain extent. Larger maps, new units, and several small innovations make Sudden Strike 5 an improvement over its predecessor in many ways, but there are still several quality-of-life aspects that need refinement. The learning curve is extremely steep and there is no proper tutorial to guide players, while the interface feels confusing both during gameplay and on the minimap. On top of that, balancing and AI issues are hard to ignore. The controls in the version I tested also deserve some reworking, regardless of the fact that a game of this type on console will always have to contend with the limitations of a controller. All things considered, the war fought by Sudden Strike 5 is ultimately won, but only with great effort and with many collateral losses left to count.

Dawn of War – Definitive Edition is a respectful return to one of the most iconic RTS ever made, but it stops halfway between tribute and true restoration. The updated visuals and the convenience of having all campaigns in one place are welcome, yet the lack of deeper improvements is hard to ignore. It’s enjoyable and nostalgic, but also a reminder of what this remaster could have been with more ambition.

Double Dragon Revive is a game that tries to be many things: a tribute, a relaunch, a modernization. It manages to evoke the past with respect, but stumbles in the present due to a lack of vision and polish. It's a title that may entertain nostalgics and offer a few hours of arcade action, but it's unlikely to leave a lasting mark on the modern beat 'em up landscape. The dragon is back, yes, but its roar sounds more like a cough.

FBC: Firebreak delivers a solid cooperative framework with a few clever mechanics, but struggles to stand out. While it captures the visual identity of Control, its repetitive mission structure, shallow progression, and lack of narrative depth limit its lasting appeal. Best enjoyed in short bursts with friends, it feels more like a side project than a meaningful expansion of the Remedy universe.

COLD VR is a game that doesn’t do anything exceptional, especially when it comes to gameplay once you put on the headset. Yet, it has a story that is overall nice to follow, with that retro '80s vibe that looked to the future — and it works. However, these are just small doses, in a market that struggles or poorly imitates, and this game is not exempt from that aspect.

The Siege and the Sandfox makes a strong first impression with its intriguing premise and stellar presentation, and with a few well-aimed updates Cardboard Sword's project could truly shine. However, there are currently too many rough edges holding it back. Tighter and more responsive controls would better support the game’s acrobatic nature without compromising its identity, while smarter and more consistent AI would make the stealth elements far more engaging, though we're not entirely sold on their integration to begin with. Still, if the concept piques your interest, there’s no reason not to give this “stealthvania” a shot, just be ready to accept a few trade-offs.

You die a lot, a whole lot, too much, and you start over with the distinct feeling that you won't be able to overcome the few matches that are blocking your progress, only to start over again. As I often say in these cases, it's always preferable to offer the player something more substantial, a reward, or the knowledge that they will be able to face subsequent matches with more elements than in previous runs, but unfortunately, that's not the case here. It's not disappointing, but the logic of the card sequence or combos isn't explained very well, and it's excessively frustrating; maybe it will change in the future, but at the moment it gets boring after a few hours.

Disciples: Domination is a sequel that embraces absolute continuity. It corrects some of Liberation's imbalances, increases the challenge, and consolidates the foundations, but it stops there. The combat system works, the factions offer distinct approaches, and the dark fantasy atmosphere remains intact. But it lacks the bold vision that could transform a good strategy game into a memorable one. Where evolution was expected, Domination opts for maintenance. Solid but predictable: it will convince those looking for exactly what they already know, disappointing those hoping for a decisive step forward.

Legacy of Kain: Defiance Remastered is not the product we expected following the remaster of the two Soul Reaver titles. This release feels like another "nostalgia bait" operation that is, frankly, difficult to justify. One commendable addition is the over-the-shoulder camera, which significantly improves the game's quality of life and assists during both platforming sections and combat. On the other hand, new mechanics such as the local map and the "foresight" ability feel negligible, adding very little to the overall experience. The graphical enhancements applied to the environments are bland and barely noticeable; in fact, they occasionally break the atmosphere of the original game. While the character models are highly detailed, the development team seems to have taken too many liberties in redesigning some of the key protagonists. From a gameplay perspective, the title suffers from the exact same issues as the original 2004 release: it remains repetitive and tedious, both in its combat encounters and its environmental puzzles. Ultimately, Legacy of Kain: Defiance Remastered stays afloat solely thanks to the masterful narrative and world-building of the original game, but it leaves a bitter taste in the mouth.