In Dragon Quest VII Reimagined, Square Enix once again proves its ability to do a remake justice. The new orchestral soundtrack and handcrafted visual style not only elevate the immersion, but also make the game more enjoyable. The changes that streamline both story and gameplay also make the transition to newer hardware much more enjoyable. Combined with the deep accessibility options that let you adjust the difficulty and the episodic structure of the separate islands, this makes for a long RPG that even the busiest players will be able to enjoy at their own pace. If the quality of recent Dragon Quest games sets a new standard, I can’t wait to see what the teams at Square Enix will show us next.

As a remaster, Fighting Force Collection does exactly what it needs to do. Both games run well, look as good as possible, and are presented in a way that respects their original form. There are no game-breaking issues, no lazy emulation shortcuts, and no technical excuses. This is a competent, respectful revival. Where the first Fighting Force remains the clear highlight: still fun, still chaotic, and still best enjoyed with a second player on the couch. It’s proof that good core design can outlast technical limitations. The second game? It’s… fine. Functional. Interesting in a historical sense. But also a strong example of why some games are better remembered than replayed. And that’s okay. Not every classic needs to be reinvented, and not every sequel deserves the same reverence as its predecessor. The Fighting Force Collection succeeds because it lets you experience both and decide for yourself. So, what you get is a solid, enjoyable remaster anchored by a genuinely fun original game, slightly dragged down by a sequel that time hasn’t been kind to. Yes, it’s worth playing, worth remembering, just maybe not worth revisiting everything.

I Hate This Place has a strong identity and some genuinely compelling ideas. Its early hours make effective use of sound, darkness, and isolation, and its visual style gives it a personality that’s hard to ignore. But the systems underneath don’t push back hard enough to sustain that tension. Survival becomes comfortable, and for a horror game, that’s just a shame and something I can’t ignore. I didn’t hate my time with I Hate This Place, but it could have been so much better.

2XKO is a fun arcade fighter and a great introduction to the genre for newcomers. The Fuse tag-team mechanics offer a fresh take on the existing formula and provide plenty of strategic depth, whether you’re playing alone or with a friend. Match and lobby creation is seamless, even when playing cross-platform. The free-to-play model doesn’t restrict access to major content. Everything can be unlocked by playing; it just takes longer to unlock characters this way. However, if you enjoy playing it as much as I do, spending time on it won’t be an issue. If you want to try out 2XKO, it’s available on PC, PS5 and Xbox Series X/S.

Code Vein II clearly wants to be more than a continuation of the first game. The shift in structure gives the world more room to breathe, and the combat still rewards players who like to adjust, experiment, and find their own rhythm. But that extra space comes at a cost. The open world softens the pressure that once kept everything moving forward, and the technical rough edges tend to show up exactly when clarity matters most. I enjoyed my time with Code Vein II, even when it tested my patience. I just kept thinking how much stronger it could have been with a tighter focus.

Animal Crossing: New Horizons remains a deeply comforting experience, and in 2026, it’s still easy to get lost on your island. The free 3.0 update adds meaningful content and long-requested quality-of-life improvements that certainly offer more than enough content for both new and returning players. The Nintendo Switch 2 Edition itself is more modest, focusing on stability, visual clarity, and convenience rather than new gameplay. Together, they form the most complete and comfortable version of New Horizons to date.

Big Hops isn’t trying to reinvent 3D platforming. It’s refining a specific sensation; that satisfaction of staying in motion, of choosing flow over correction, and of trusting your hands to figure things out before your head does.