Finally, regarding the audio, we really appreciated the voice acting (in English, with Italian subtitles) during story mode, the commentary, and the sound design, which realistically captures the atmosphere of a UFC bout. The soundtrack, however, might not be to everyone's taste.

There is still plenty of room for improvement regarding character models, basic animations, and—above all—the voice acting and dialogue in cutscenes. It would be fantastic if, for the next Forza Horizon, Playground Games applied the lessons learned while developing the new *Fable* to address these shortcomings. They could also take the opportunity to meaningfully revamp the concept of the automotive festival—which, in my view, remains a winning formula—as the project's driving force. After all, the festival explains everything: why there are few pedestrians and no one crossing the streets, why the place is teeming with maniacs drifting around you, and how you ended up in the middle of it all so quickly. As for those who complain that it bears too strong a resemblance to previous titles, let us point out that only a madman would alter a formula that no other development team has managed to replicate, and one that sees its audience grow with every new release.

Mina The Hollower inhabits the confines of a parallel universe; it moves along a track entirely its own, imposing upon itself limitations that, on one hand, grant it an undue advantage—offering the opportunity to resurrect the very best of past classics armed with all the knowledge of the future—yet, on the other, keep it confined within its own small niche. Yacht Club Games has transformed that niche into a cozy den; specializing in the 8-bit aesthetic, they craft extraordinarily challenging video games that are certainly not intended for everyone—yet they do so with an exceptional level of care, leaving absolutely nothing to chance, not a single pixel nor a solitary note of the soundtrack. If you still find yourself longing for those moments when you powered up your Game Boy Color and hours suddenly seemed to slip by like minutes—flinging open windows onto worlds teeming with secrets waiting to be uncovered—then the Isle of Mystery will make you feel right at home; it will put your skills to the test and will undoubtedly find a way to surprise you.

Quotation forthcoming.

The sensation is that of standing before a project which—had it emerged from any other software house on the planet, and under any other circumstances—would have effortlessly transformed into an instant cult classic. Unfortunately, however, the name on the cover reads ZA/UM; it was crafted using tools that were already well-proven, and it is compelled to endure a comparison that is simply impossible—much like the redemption of Hershel Wilk.

007 First Light is a perfect blend of the espionage aplomb of the Hitman series and the cinematic action of Uncharted. It pleasantly alternates between the two, catapulting the player into a myriad of situations that are always stimulating and, above all, excellently written, so well-crafted they seem to have been plucked from a good 007 movie. The new James Bond has lost none of his charm: his irresistible knowing smile, his seductive gaze, his approach that can be at times frivolous, trendy, and style-icon-like, at times profound and intelligent, almost like a philosopher in the field. With him, the cast of characters lays a solid foundation for what could be another successful franchise for IO Interactive. There are some elements that are out of place—most notably the enemy AI that's just not convincing—but when Bond enters the fray and the adrenaline rush rises, 007 First Light manages to make up for it with spectacular storytelling and an irresistible pace. A fun, incisive, and very contemporary video game. To quote a maxim from Agent 007, this series "has all the time in the world" to become perfect.

The art direction—bolstered, as previously mentioned, by a truly remarkable soundtrack—compensates for these shortcomings as we explore the subterranean landscapes of the Abyss; yet, these environments suffer from one unfortunate flaw: the alternation between rock and metal is, fundamentally, all we will see throughout the campaign. Consequently, the game cannot boast great visual variety; indeed, it tends to flatten out, adhering strictly to a limited set of design and even chromatic choices.

The audio passes with flying colors. The Moto3 and Moto2 engines have received a substantial update, thanks to samples taken from their real-world counterparts. The Italian commentary is also solid—entrusted, as is now customary, to the evergreen Guido Meda.

The most incredible thing about Yoshi and the Mysterious Book is that it lacks a definable duration, as it transcends the traditional conventions of a distinct beginning and end. One could argue that the game concludes once the very last creature has been discovered; however, the concept of time becomes entirely relative—dependent on your pace, your desire to savor every diorama, your willingness to explore each area thoroughly, your choice to utilize (or forgo) hints, and whether or not you seek out the fleeting shadows that occasionally appear to remind you of a discovery yet to be made. Is it a game of relaxed exploration? Of continuous discovery? Or of the logical interpretation of every environment? This new Nintendo title offers multiple layers of interpretation—all equally valid, and all equally faithful to a precise stylistic and gameplay vision capable of seamlessly weaving together every distinct idea brought to the table.

Even in these quirky choices—which pay homage to the most obscure corners of the DC Universe—one can sense the love the developer harbors for Batman and his associates; after all, we even get "Kiss from a Rose" during the closing credits, just like in Batman Forever. In fact, beyond featuring the most famous themes and tracks from the films, the game boasts the Italian voice talents of Marco Balzarotti and Riccardo Peroni as Batman and the Joker—the very actors who dubbed them in the 1990s animated series. It is the icing on the cake of a project that truly left nothing to chance, blending the various interpretations of the Dark Knight in its own unique way.

In short, this is not a video game without its rough edges; yet, it feels well-rounded and focused—built around a few highly polished and deeply explored core concepts—and, above all else, it demonstrates that potential for growth typical of those who are already doing things the right way. *Nitro Gen Omega* is original and satisfying; it manages to remain entertaining for at least thirty hours without ever dragging. It only begins to feel a bit weighed down over the long haul—due to the inevitable tension between its sandbox nature and the sheer scope of content a studio this small has attempted to tackle—specifically regarding the variety of environments, factions, and all the classic elements that serve to facilitate player freedom and emergent storytelling. That said, DESTINYbit’s latest work clearly showcases the results of a continued process of maturation—one that solidifies their standing as one of the most intriguing developers on the domestic scene.

Reaching the end of a game of Battlestar Galactica: Scattered Hopes doesn't take very long—assuming everything goes smoothly—but we are nonetheless talking about a highly replayable title that thrives precisely on the variety of situations it presents and the weight of the choices you are called upon to make. This is particularly true of the system events, which, in our view, constitute the game's most successful element due to the sheer range of scenarios they offer. The combat mechanics work well, too—characterized by their lean, responsive nature—though they do tend to become somewhat repetitive over the long haul. All in all, after about 25 hours, we felt fully satisfied with the experience, even though the publisher claims there are 50 hours' worth of content available for completionists. Considering the accessible price point, there really is nothing to complain about.

Mixtape is a narrative video game about the power of friendship, the inevitable wave of adulthood that overwhelms and separates you, but also the strength of the bond that unites you forever to the people you love. All of this is underscored by an exceptional soundtrack, spanning decades of music, shifting seamlessly between different genres and moods. The progression is somewhat schematic, a product of the "song" structure that characterizes the video game: you drift in and out of memories, playing small fragments made up of expedients that always function in conjunction with the narrative and the canons that accompany them. An interactive musical that reminds us why friends and music were so important to us at a certain point in our lives.

419 In this way, you soon find yourself trapped in a loop of contemplating how to forge increasingly complex synergies—weighing whether it is worth specializing in plains or forests, whether to upgrade a specific tile, or whether to hire mercenaries to patch up your faltering strategies. And in the event of failure, you start over with the bonuses unlocked thus far, hoping to stumble upon just the right boss or Tetrominoes. And so it goes.

Housemarque has taken the Returnal formula, cut it, sewn it, dried it, and enhanced it to create a stunning sci-fi cosmic horror tale that showcases the talents of its artists. More cinematic, more accessible, and more explicit in its depiction of the terrifying and wondrous imagery of Carcosa, it has all the makings of an instant cult, losing just a few fragments of its uniqueness in the attempt to broaden its sphere of influence. It's a game that blends the essence of old-school arcades with the best of contemporary expressive means, drawing inspiration from sci-fi and literary greats, injecting the addictive power of pure action gameplay right into the heart of the experience, and then building around it a backdrop that's as captivating as it is perfectly harmonious. Simply put, Saros is one of the best PlayStation games of this generation.

Tomb Raider takes us back to the origins of the new Lara Croft, with a chapter that remains damnably relevant in terms of gameplay and visuals, enhanced in this mobile version by a range of touch control optimizations that make the experience highly playable on the go and without the need to connect a controller, although the latter remains the best way to fully enjoy the gripping adventure developed by Crystal Dynamics.

Super Meat Boy 3D is a successful exercise in reinterpreting the series, transporting the protagonists of this historic 2D saga into a world of major aesthetic and conceptual changes. The former are easy to get used to; the latter require a bit more effort, even if it’s both pleasant and surprising to rediscover the responsiveness and speed of the original game. What truly changes, however, is the mindset with which you approach each level, which now benefits from an unprecedented sense of depth and scale, and requires the player—not only to rely on their usual exceptional reflexes and precision—but also to be able to read the path ahead. Perhaps it is precisely this lack of clarity that stands as the game’s biggest flaw, in what remains a very enjoyable experience (especially if you’re a bit of a masochist) and one that is packed with ideas that never run dry. In fact, quite surprisingly, they increase in the second and final stretch. Is this the new “skin” of the Meat Boy saga? I don’t think so, but it is certainly a successful diversion.

The Division Resurgence effectively translates the Ubisoft series experience into a content-rich mobile format with solid gameplay, also thanks to the many customization options available for both players who prefer the immediacy of touch controls and those who want to use a controller.

Replaced is a title that will inevitably divide opinion. On one hand, it boasts a staggering technical and artistic achievement that pushes pixel art into a new era through original, unprecedented, and extraordinary directorial choices. At the same time, one cannot overlook gameplay that feels unrefined at times, often reduced to the bare essentials in terms of interaction complexity, and further slowed down by clunky controls and combat that lacks the necessary depth. While we wouldn't blame those who choose to weigh these shortcomings heavily, we feel a duty to reward a production whose craftsmanship and aesthetic vision permeate every single frame. It is a visual journey that deserves to be experienced and one that raises the bar for indie quality, provided you are willing to accept its rough edges.

Tomodachi Life: Living the Dream is a video game whose success depends almost entirely on the amount of imagination you are willing to invest in it. It is a life simulator that draws from the rules of absurd comedy and requires an active effort from the player as well, in order to populate its world with unique characters, each with strange habits, tastes, and ways of speaking. These personalities interact with one another, giving rise to an emergent narrative that can be exceptionally hilarious. There are no missions to complete, no objectives to achieve, and progression is represented solely by the structures that will unlock on your island and by the increasingly unusual traits you can assign to your Miis. If you put a lot into it, the game will reward you with its powerful and unexpected sense of humor. Tomodachi Life is genuinely funny, never takes itself seriously, and constantly surprises with its boundless imagination. However, be aware that when your fuel runs out, the great machine of laughter comes to a stop with you.

Mouse: P.I. For Hire is an adrenaline-fueled and extremely fun boomer shooter. It stands out from the crowd thanks to its art style, but in terms of gameplay it doesn’t offer anything truly new. However, fans of the genre will love it.

Pokémon Champions does exactly what is expected of it: providing an independent platform through which the competitive scene can evolve, shift, and thrive separately from the main series. And it does so the right way, avoiding pay-to-win pitfalls and refusing to stifle the experience with increasingly complex currencies or chaotic initiatives. The decision to limit the number of available Pokémon and items helps concentrate resources and strike the right balance, while the elimination of EVs and IVs breaks down one of the most significant barriers to entry. For series veterans, the latest effort from The Pokémon Works feels like the natural evolution of Pokémon battles. However, everyone else—faced with bare-bones tutorials and a lack of features—might find the game far too sparse. The onboarding process for newcomers has room for improvement, and there is a rather serious absence of options for testing teams offline or spectating online tournaments.

Pragmata is a great video game, just like the ones from back in the day. Drawing inspiration from its past classics, Capcom has placed pure gameplay at the heart of the experience, building the story of Hugh and Diana around it—a tale as simple as it is timeless, which is almost a unique case for the Osaka-based company. The development of the father-daughter relationship stands out against the backdrop of a fast, fluid, and engaging action experience that turns the clock back twenty years to an era of levels to complete, arcade-style challenges, and extra modes to unlock. Cho Yonghee's first directorial project aims to do a few things and do them very well. It runs smoothly until the credits roll, introducing a brand-new universe within the boundaries of a traditional formula. However, it doesn't quite reach excellence in any of its components, almost shying away from the very idea of ambition. Perhaps that is why it feels so close to old-school atmospheres: you press the start button and enjoy playing, without chasing transcendental goals.

Indeed, one must give credit where credit is due and point out that—especially in the final two worlds—Super Meat Boy 3D certainly doesn't skimp on ideas: wormholes, homing missiles, teleportation portals, and gravity spheres. There comes a moment when the game seems to have shown its entire hand, only to continue surprising you by introducing new mechanics and concepts for navigating levels that become increasingly complex, convoluted, and seemingly impossible. The boss battles, too, demand intense effort and rely on very precise trial-and-error mechanics—perhaps even *too* precise. In most cases, you have to memorize the enemy's attack patterns and simply wait for fate to take its course, since Meat Boy cannot directly attack the boss; it is up to karma to deliver the punishment. After all, if there is one thing this game proves, it is that you need patience—an immense amount of patience—to clear every level, collect all the hidden bandages, and unlock every character. There is certainly no shortage of extra content; the only question is whether the player's own patience—or "liver," as the game would have it—doesn't give out first.

Speaking of settings, Oceanhorn 3: Legend of the Shadow Sea features a very well-implemented touch control system—immediate and responsive—yet the game truly shines when played with a controller; in our case, the excellent SCUF Nomad. It is a pity, however, that the developers assigned the jump action to the Y button and interaction to the A button—the exact opposite of the long-standing standard in action-platformers—and "fixing" this requires resorting to some rather cumbersome workarounds.

Darwin's Paradox draws on elements from platformers and adventure games to bring to life the incredible retro-sci-fi saga of an octopus, managing to keep players hooked level after level. The start may seem a bit slow and the pace isn’t consistent, but you’re always left curious to discover what lies in the next level, thanks in part to constant variations that keep things interesting. A game from a bygone era, one that was sorely needed.

Nutmeg! is a management game that is neither particularly deep nor complex. It draws much of its appeal from a deliberately vintage interface, but anyone looking for a worthy alternative to Football Manager will undoubtedly be disappointed. That said, players who click with its gameplay will find it incredibly hard to pull themselves away from the screen, thanks to its excellent sense of progression.

Marathon is an extraction shooter for people who love team deathmatch, a mystery of moths and robotics you unravel match after match, a challenge for anyone who can make a mouse fly or dance across a controller. It’s a tightly sealed vault packed with secrets. But it’s also sterile, clinical, brutal, almost standoffish. It doesn’t try to grab your attention, but once you fall into it, you can’t stop thinking about it.