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.

Rainbow Six Mobile is a solid and well-crafted adaptation of Ubisoft's tactical shooter, starting with a deliberately compact selection of modes, maps, and Operators, but aiming to expand over time alongside its players' experience. The framework, made more agile and faster for mobile play, works very well and offers a huge number of settings to accommodate a wide range of preferences, whether using a touch screen or a controller.

John Carpenter's Toxic Commando is a solid and entertaining cooperative shooter that takes the classic Left 4 Dead formula and introduces several important twists, from open maps (though they do end up looking a bit too similar to one another) to the use of vehicles, as well as special powers and a customizable arsenal. The starting content offering is fairly generous, especially considering the relatively low price, and the Swarm Engine puts truly massive and spectacular hordes on screen, creating a chaotic battlefield that is a real pleasure to tackle alongside friends.

Fatal Frame II: Crimson Butterfly is not afraid of what it has always been. Despite its new and pleasant visual makeover, its heart draws heavily from old-school survival horror, where even the clumsiness of the controls and the feeling of never being fully in control played a fundamental role in unsettling the player. This remake, directed by the series’ original creator, deliberately aims to put you in a difficult position, casting you in the role – far from agile – of a young girl facing hell armed only with a flashlight and a camera. Everything contributes to this sense of discomfort: from the uneven difficulty balance to the rusty combat mechanics, issues that eventually start to weigh on the overall experience. In this sense, too, it remains pure, and as such it deserves respect. Just be aware that it may not be a game for everyone. It speaks to a very specific niche that will love it, just as it has loved every one of its reincarnations.

Monster Hunter Stories 3: Twisted Reflection is the crown jewel of a series that has always been somewhat underrated, despite having succeeded in the extremely difficult task of effectively translating the original series into a turn-based JRPG. Every refinement to the formula was carefully considered by studying the genre's modern landscape and what has worked in the most important games released in recent times, and the result is a balanced and satisfying Japanese RPG from every perspective, yet still deliberately aimed at a fairly specific audience. Ultimately, if you enjoyed the previous games and love Monster Hunter, prepare to spend countless hours hunting for eggs, combining genes, and battling monsters with spectacular abilities alongside memorable characters.

Planet of Lana 2 is a real gem—a delightful adventure in a dangerous, fragile world that has lost its memory; in a word, beautiful. It is a sequel that can be enjoyed without any problems by newcomers, although it is still recommended to have played the first chapter, if only to appreciate all the new features. Planet of Lana 2 innovates, enriches, and consolidates everything seen in the past, taking on a more multifaceted (yet consistent) and, above all, less frustrating identity. It is an adventure designed to be completed by everyone, provided they engage enough with the environmental puzzles. Its aesthetic aims to reach everyone's heart, prompting reflection on vital themes such as identity, nature, loss, and growth. We hope that in addition to being entertaining (which every good video game must always be), its message does not go unheard.

In the ever-growing landscape of modern beat 'em ups, Scott Pilgrim EX undoubtedly manages to carve out a prominent spot for itself, thanks to a structure that cleverly blends classic genre mechanics with various RPG elements. While it isn't the first side-scrolling brawler to take this path, and certain aspects still need polishing—specifically a perhaps excessive number of random encounters and a rather pronounced grinding component—the overall result is more than solid. Indeed, we are presented with an excellent combat system that is deeper than it first appears, supported by seven playable characters, all of whom are well-differentiated in their style and approach to combat. This is further bolstered by a good variety of enemies and well-crafted boss battles that succeed in keeping the challenge level high. For fans of the graphic novel (or the animated series), the witty dialogue and numerous Easter eggs provide significant added value. The collaboration with the original creator is reflected in the care given to the atmosphere, while the art and sound design convincingly capture the work's identity, showcasing the development team's passion and attention to detail.

Behind the surface of a game as cozy as Animal Crossing and as customizable as Minecraft lies a long Pokémon adventure full of surprises, with even a bittersweet aftertaste. It is an experience that is easy to pick up, yet hides multiple layers of interpretation and a fair amount of depth, featuring increasingly complex tasks to complete and an almost infinite endgame—thanks to the ability to build a cloud-based island with three friends. That is, of course, if you choose to do so rather than simply losing yourself in these worlds awaiting reconstruction, free from instructions or requests.

Resident Evil Requiem is a creature split in two. Within itself it preserves some of the finest moments the Resident Evil saga has ever put on display: it’s rich in detail, brimming with love for the genre, and outstanding at staging horror, building it room by room, corridor by corridor—zombie by zombie. Like no one else in the world of video games knows how to do it. This talent comes through most fully in the moments featuring Grace Ashcroft. The first half of Requiem is the culmination of a journey that began thirty years ago. On the other hand, when the ball passes to Leon Kennedy, it fails to find the same balance. The second half is sloppy—adequate at best—with action that shatters the equilibrium between tension and release. What is unforgivable is that it forgets everything good it built in the first part. There is very little beneath the dusty surface of nostalgia—only the bitterness of having squandered the chance to deliver a new modern classic, in the usual, futile attempt to please everyone.

Squanch Games couldn't have made a better comeback with High on Life 2, the second installment of what has now become a full-fledged franchise, successfully getting back on track even without its creator. The narrative has seen the most significant leap in quality, featuring truly hilarious moments and genuinely unexpected twists, not to mention the numerous parodies of other games, movies, and anime that were so funny they forced us to pause the game. The gameplay refines everything seen in its predecessor; while there are no major overhauls, it expands our hunter’s toolkit with new sentient weapons and a handy skateboard that speeds up exploration, even if it isn't quite as effective in combat. On a technical level, there are still some minor issues that we hope will be patched soon, but there is no doubt that this is a shooter that—despite its flaws—knows its stuff and, above all, knows how to keep you laughing at every turn.

Rage is astonishing from a technical perspective but it has several problems with the gameplay starting from a lack of contents and the total absence of Game Center's support. However the game can be really enjoyable for short game sessions.

Continuing directly in the vein established by the previous chapter, Paranormasight: The Mermaid's Curse offers another interesting and disturbing tale, immersed in a Japanese maritime atmosphere. The writing is good and, as usual, the world-building draws us perfectly into the situation, although the more strictly playful parts are even more diluted and less interesting than those in Seven Mysteries of Honjo.

Reanimal aimed to represent Tarsier Studios’ coming of age and to create a spiritual successor to Little Nightmares. While it draws on some of the conventions of their previous work, it is clear that the vision here is decidedly more mature: it strips away the charming imagery that permeates the dark fairy tale overseen by Bandai Namco, resulting in an adolescent nightmare that is far more unsettling, typical of someone beginning to grow up and leaving childhood behind. The protagonists are older and angrier; they are able to rebel against the horror, refuse to be overwhelmed, and often fight back with a level of force and aggression equal to —if not greater than— that of their enemies. It is an intriguing first piece of the puzzle, boasting a remarkable visual imagination, yet for nearly half of its short lifespan it still seems to be searching for its own identity.

Mario Tennis Fever, compared to Mario Tennis Aces, feels like a more accessible and engaging game - more “tennis-like” - but also less deep, stripped of the beat-’em-up dynamics that made its predecessor, in some respects, almost too complex for the broader audience Camelot and Nintendo are aiming for.