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.

The Adventures of Elliot holds so much untapped potential that even discussing it becomes frustrating: every single aspect of the game seems to have been designed without regard for the others, yet somehow the whole package manages to be incredibly consistent. Ultimately, it was an enjoyable experience—never dull—that left us feeling satisfied despite the aforementioned flaws, though largely because we love the genre and the HD-2D style. And because we have an obsessive-compulsive need to deal with locked treasure chests and kittens in distress.

There is little to complain about regarding the purely aesthetic and technical aspects. The game employs a comic-book art style; while the athlete models may not boast an immense level of detail, they closely resemble their real-life counterparts and feature convincing animations that—despite the expected stylistic exaggerations—faithfully capture the players' actual movements. The environments are varied and detailed, alternating between real-world courts, such as the one at Venice Beach, and entirely fictional ones. The frame rate is solid, as is the netcode; out of the dozens of matches played, there was only a single instance of a total connection failure.

As a roguelike, the game is naturally not designed to be completed just once. It will take hours of attempts and upgrades to reach the end, but even after finishing it, replayability remains high—not only due to the experimentation with various builds and the addictive quality typical of the best roguelikes, but also because the levels become more complex and a "true ending" can be unlocked by completing the game a second time.

The online component is admittedly secondary: there are only Quick Match, Ranked, and Friendly Match modes, and the game's status as an exclusive significantly limits the pool of potential opponents. Matters are made worse by the usual shortcomings of Konami's infrastructure—including clunky menus and questionable matchmaking logic—resulting in extremely long wait times and forcing players to make certain choices after being matched rather than before, which further drags out the breaks between games. Anyone buying eFootball Kick-Off! should do so knowing that the main course is, and remains, the offline experience.

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.

There aren't very many options for customizing your team at the moment. You can purchase kits and celebrations from the store, but the initial selection is rather limited. Furthermore, as previously mentioned, there is currently a lack of any real licensing, save for a few scattered collaborations like the one with KSI.

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.

Unfortunately—particularly during certain boss battles—progress is made more through trial and error than through informed strategy. After a while, you realize that striking a specific arm yields no effect, that an enemy attack lands slightly sooner than visual cues would suggest, and that your own offensive has actually connected even in the absence of clear on-screen indicators. With a dash of practice and a bit of patience, it is possible to partially mitigate these two issues; however, they inevitably—and significantly—mar the overall enjoyment of the experience.

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.

*Thick as Thieves, however, doesn't even attempt to challenge this premise; on the contrary, it offers a truly classic interpretation of this subgenre—one characterized by predetermined, repetitive routes, guards who forget about you after a mere few seconds, and alarm systems that are nowhere to be found. The problem is that the randomized placement of objects does nothing to fundamentally alter the two maps, which—once explored inside out—have very little left to offer.

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.

The audio department is less impressive, featuring music that serves a functional role within the gameplay—with a few tracks that actually manage to stand out—while the sound effects and voice acting (which we sampled in both English and Japanese) do little to push beyond the typical limitations of the genre, offering many stereotypical performances.

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.

InKonbini succeeds in fulfilling its promise to serve as a place of fragmented encounters—of universal shards of humanity—even if the setting feels distant and elusive in time and space to a Western millennial such as myself. Regardless, it manages to leave you with something. Where it fails, however, is in embodying another identity that was easy to associate with it—even just by reading its premise and knowing the frenetic, sometimes hellish, routine of Japanese convenience stores: our need (unhealthy, perhaps?) to always have something to do, to measure our progress, and to find meaning within the routine. The game lasts 5–6 hours; it takes care to tell a tender coming-of-age story, and then it ends. The fact is that, in doing so, if you don't resonate with the events it depicts, then InKonbini—a game with a very strong sensibility, yet built on rather thin foundations—has very little to offer you.

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.

Directive 8020 also gives us the ability to rewind time and make different choices, or to replay these sessions, in order to ensure that more survivors make it to the end of the game.

The interface suffers from a serious scalability issue: text and icons are very often too small—at times almost illegible—on a screen like that of the Ally X. This is clearly a major flaw for a title that is so narrative-driven and involves extensive document reading. We are confident that this will be rectified promptly; however, given that this type of adventure game is perfectly suited for on-the-go gaming, we felt it was worth highlighting this issue.

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.

The map design is particularly well-crafted and intriguing, contributing significantly to the gameplay. On this front, however, one criticism must be raised regarding the limited quantity: currently, only five maps are available—all of them rather small in size. Given that there is also only a single game mode, it is essential that Double Fine introduces new content soon to keep interest in *Kiln* alive. The first post-launch updates have already been announced and include at least three new maps and a new game mode; however, it remains unclear whether true long-term support is planned—something that will likely depend on the game's online performance during its first few months.

From a technical standpoint, however, Invincible VS fails to particularly distinguish itself. The 3D character models lack detail—a shortcoming that is especially evident in Story Mode, where the transition between animated cutscenes and gameplay segments highlights the disparity in quality. The animations, too, are not always up to par; some attacks appear unpolished and lack fluidity. Finally, the special effects do not exactly dazzle with their spectacle; while generally pleasing overall, they remain inferior to those found in many other titles within the genre—a sentiment that ultimately applies to the entire graphics package.

Aphelion is the most classic of DON'T NOD's games. On paper, but also in practice, it lacks everything to be a good title, but at the same time it lacks the magic, the originality, the quality necessary to shine. While Remember Me and Banishers: Ghosts of New Eden undoubtedly represent two of the French studio's finest achievements, not to mention the usual Life is Strange, this sci-fi adventure falls behind those titles. While there are no major flaws, and while the game strives to offer sci-fi fans an experience comparable to Interstellar, Solaris, or Deliver Us Mars, for a game primarily focused on story, it lacks a twist, a completely convincing and engaging level of writing, and the digital direction and top-notch sound are all missing. The gameplay is just okay, completely lacking in depth and even repetitive over long periods, especially in the sections where you play as Ariane. With Pragmata and Saros vying for the attention of sci-fi fans, Aphelion risks coming away with more broken bones than it deserves. It's not a bad game, but it certainly chose the worst time of year to try to win over genre fans with its slim, yet undeniable, qualities.

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.

Broken Arms' game delivers exactly what it promises—designing golf courses and turning them into a profitable business—but a single, extended Sandbox session is sufficient to see everything the title has to offer.

It's impossible not to perceive Little Nightmares VR: Altered Echoes as a huge wasted opportunity. This is because, despite the project's solid foundation, it never manages to capture the attention of the player, even becoming boring during the two hours it takes to complete. Altered Echoes reflects the current VR gaming industry. An industry that, after innovating the language of video games, has reveled in the same gameplay mechanics for years, hiding its flaws behind famous brands or iconic comic book characters. Yet, this time, it wasn't enough. Bandai Namco's franchise wasn't enough to create a title worthy of attention, destined to end up in the generic melting pot of VR horror games. This, however, shouldn't be seen by software houses as an "end," but as a "new beginning."

The results are evident, and there is no doubt that the game features some truly evocative sequences—as well as several particularly strong artistic vistas—yet at the same time, one notices minor frame rate inconsistencies on PS5, a few too many reconstruction artifacts, the limited scope of the explorable environments, and, above all, animations that are often stiff, thereby highlighting the production's limitations.

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.

People of Note sets out to accomplish something almost impossible: merging the expansive pacing of role-playing games with the brisk rhythm of musicals. At its best, it nearly succeeds, but its compartmentalized structure soon becomes apparent. The musical identity of its characters and their performances truly shine only in the cutscenes, staged like music videos that punctuate the narrative. However, when the game returns to being a game, the centrality of music starts to feel more like a narrative pretext, an excuse to build a kind of theme park that lacks the very energy and sonic richness it promises. It’s a shame, because People of Note ultimately fails at what it sets out to celebrate: the joy of seeing two genres blend almost seamlessly. What remains is a decent RPG, accompanied by some excellent musical performances.

Life Is Strange Reunion is a high-quality title, but it is also too conservative and shows how the series' formula has been used to the point of exhaustion. Life Is Strange itself will certainly have a future, but it is now necessary to rethink its mechanics even before introducing new characters. Time has been rewound far too many times; now it must be allowed to flow. Only then can Max and Chloe be truly remembered with affection. Otherwise, by constantly being reminded that life is strange, even strangeness risks becoming normality.

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.

The first new entry in the Legacy of Kain franchise in over twenty years is, unfortunately, a total flop. If it didn't carry the weight of such a legendary name, it might be considered a simple and somewhat enjoyable 2D action-platformer, despite its short runtime. The real problem is that it chooses to interfere exactly where it shouldn't: the story. The changes to the original lore, combined with the introduction of a poorly written character like Elaleth—who is, for all intents and purposes, the game's true protagonist—and several questionable narrative choices, will be hard for long-time fans to swallow. Even on the gameplay front, despite a few good ideas, the title feels extremely basic and lacks variety in both its platforming and combat sections. Furthermore, the 3D sequences feel superfluous and barely relevant to the overall experience. The final impression is that of a low-budget product that, at best, could have worked as a fan-made project. Seeing it as an official release published by Crystal Dynamics makes the end result all the more disappointing.

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.

World of Warcraft's new expansion speaks of courage, but has very little of it of its own. It suffers from all the limitations established in the middle chapters of the trilogies but Blizzard has limited itself to refining the tried and tested dynamics, adding content and features with little impact on routines that haven't changed a bit. The game still works wonderfully, mind you; those who enjoyed leveling up their characters or collecting all the collectibles now have new reasons to return, but while we were following familiar stories in familiar areas, we missed the sense of novelty and discovery we experienced in previous expansions.

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.

Screamer is a hero racer with combat elements and a strong focus on storytelling that overturns the arcade approach of the 1995 original, in an attempt to build something new and different. Does it succeed? In some respects yes, in others less so: the gameplay makes bold choices that can sometimes feel puzzling, giving the impression of overcomplicating what is ultimately a fairly traditional structure, where drifting and boosting alternate to win races. Meanwhile, the lengthy campaign unfolds as a four-act narrative that works well (also thanks to some impressive animated sequences) until a certain sense of fatigue starts to set in. There’s a noticeable lack of a more substantial surrounding framework, one that would better capitalize on the compelling characters crafted by Milestone and their vehicles. Perhaps something that will be expanded upon in the future?

Crimson Desert is not a game that leaves you indifferent. It’s certainly not a masterpiece of the genre, nor is it a complete disaster. It shows as much potential as it does flaws. The game doesn’t set any new standards, but those who were expecting a grand, long-lasting adventure can set off for Pywel confident they’ll find what they’re looking for.

1348 Ex Voto has proven to be a largely disappointing project. Not everything should be discarded, and some enthusiasts of medieval history might even find it interesting. However, none of the aspects of the production fully manages to convince.

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.

WWE 2K26 is without a doubt the most content-rich entry ever produced by 2K Games for the series, thanks to a massive roster, new match stipulations, and a robust set of modes that could keep you busy for hundreds of hours. The Showcase dedicated to CM Punk is genuinely enjoyable and entertaining, while MyRise can't rely on a storyline as compelling as last year's. Meanwhile, The Island once again highlights the issues of a scenario that proves surprisingly difficult to manage for a game that continues to experience ups and downs, both on a technical level and - above all - in terms of gameplay.

Styx: Blades of Greed is a game recommended for fans of the stealth genre, despite several rough edges. The story is not particularly engaging, the control system is far from flawless, and frame-rate drops are frequent. And yet, Styx proves to be a sufficiently charismatic protagonist, and the level design is genuinely compelling.

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.

iRacing Arcade is a fascinating experiment with solid foundations but a slight identity crisis. It offers great licensed content and surprising strategic depth, yet the handling feels too simplified, often rewarding aggressive 'door-banging' over precision. The career mode is perfect for quick, casual sessions, but veterans might find the challenge a bit bland and repetitive long-term. A fun diversion for experts and a great entry point for newcomers.

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.

The Reigns formula is applied in an interesting way to the world of The Witcher through a curious narrative device that actually features Dandelion more than Geralt. The result is an adventure full of choices that does not sacrifice the irony typical of the Nerial series and manages to entertain with its unpredictable narrative, except that this randomness often becomes almost excessive.

SpongeBob: Patty Assault 2 is a colorful, solid, and entertaining platformer, especially if you play it with a controller. Unfortunately, the touch controls work rather poorly and likely pushed the developers to lower the overall difficulty of the experience, slightly trivializing gameplay that is certainly traditional but benefits greatly from physical controls.

Tales of Berseria was one of the most innovative titles in the series, if only for its cynical narrative that challenged the player's perspective with far from trivial themes and twists. But already in 2016, Bandai Namco's game suffered from technical limitations that a remaster can only partially address. That being said, we obviously recommend Tales of Berseria Remastered to fans of action-packed JRPGs who have never played it or who feel bereft of the series, awaiting better times.

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.

God of War: Sons of Sparta is a very traditional metroidvania, enjoyable for those who appreciate the genre but unable to bring anything truly compelling to the screen, as one would theoretically expect given the use of such an important intellectual property. As it has been put together, the project feels somewhat peculiar and inevitably suggests scenarios in which the decision to move forward was driven more by the need to fill a production gap than by the genuine merits of a project defined by these particular values.

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.

Unemployment Simulator 2018 is a very unusual interactive experience. Its gameplay is limited and its narrative is confusing. It’s not a game for everyone, nor is it a game designed purely to entertain the player. Yet it remains a distinctive and original adventure, even enlightening, thanks to the many themes it explores.

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.

Atmospheric, intricate, absolutely unhinged: there are many terms that come to mind to describe Romeo is a Dead Man, but the most appropriate is "what a shame". It would have been fantastic to see Suda bring his vision to life with the support of adequate resources, rather than having to improvise a thousand workarounds and emergency solutions to make the numbers add up for a work that fights hard and shows commitment, yet starts from far too disadvantaged a position.

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.

I Hate This Place is an interesting isometric horror adventure. The open-world level design creates an intriguing setting to explore, where players can encounter different quests. Hiding from the monsters that patrol each area fills the experience with tension and anxiety. Unfortunately, an imperfect control system and a few bugs slightly lower the overall evaluation of the game.

Mara Whitefish's new adventure is sometimes irreverent, at other times sentimental, but it's always genuinely true. So much so that you find yourself getting angry at one character or another, only to realize that, as teenagers, we probably behaved the same way.

Yakuza Kiwami 3 & Dark Ties fulfills a long-standing wish of SEGA series fans, finally delivering a proper remake of the third chapter in Kazuma Kiryu's saga, brought up to date with the latest entries both technically and in terms of gameplay and content. The main campaign is improved in many respects, the extra activities are highly enjoyable, and the Dark Ties expansion, despite its limitations, stands as an additional bonus to an already solid and convincing package.

RIDE 6 confirms itself as an extremely solid racing game in terms of gameplay, technically convincing and backed by impressive numbers, even though the new career mode falls short due to some balancing issues that end up undermining the enjoyment of progression, trivializing tuning and failing to meaningfully differentiate between the two available riding styles.

Edmund McMillen and Tyler Glaiel have delivered a simply outstanding roguelike, an adventure that unabashedly aims to seize the absolute pinnacle of the genre. Over 200 hours of core content, more than 100 bosses, upwards of 200 enemy types, more than 1,200 abilities, and 1,000 pieces of equipment: these are the cold numbers behind Mewgenics, but a boiling blood runs through its veins. By embracing the turn-based tactical RPG formula and distilling an explosive blend of cats and genetics, the authors have crafted a video game of extraordinary depth—a journey that leaves you slack-jawed almost entirely on the strength of its mechanics and pure game design, further elevated by irreverent writing and a completely unhinged soundtrack. There isn’t much else to add, because it is practically the Holy Grail for any fan of tactical RPGs and roguelikes: approach with caution, as it demands a considerable time investment and shows very little concern about kicking you squarely in the ass.

A step forward and a step back: that, in essence, is Octopath Traveler 0, a work by Acquire and Square Enix that presents itself as a sweeping tribute to the medieval fantasy tradition and that—miraculously—manages to turn what was once a mobile gacha title into a fully fledged JRPG. With an extraordinary wealth of content—over seventy hours of story campaigns and more than thirty playable characters—it opens a window onto the series’ past while offering an ideal point of entry for absolute newcomers. Yet it continues to suffer—partly for reasons of age alone—from several of the very issues that affected the original instalment. This is a colossal adventure that excels in many of the genre’s essential elements, particularly on the artistic front, and yet there is no facet of the experience that does not cast a faint shadow, from the narrative presentation to the ensemble cast, all the way to certain anachronistic systems. In short, it is Octopath Traveler in its near-purest form—but rather than looking ahead, it opts to keep its roots firmly planted in the past.

If Terminator 2 is one of your favorite films and you have a soft spot for early ’90s arcade titles, then Terminator 2D: No Fate is exactly what you’re looking for. The attention to detail in reimagining the movie as an arcade experience is remarkable: three distinct playable characters, run ’n gun sections, high-speed chases, and even stealth and beat ’em-up levels. Every scene is brought to life with gorgeous pixel art. It’s only a shame that, despite its variety, the gameplay remains a bit too basic in each of its different forms.

While taking several steps forward compared to its predecessor, My Hero Academia: All’s Justice is not without its flaws. The Story Mode follows the anime and manga very faithfully, but grinds to a halt during an excessively long and lackluster final boss fight. Other modes increase the game's longevity and variety, offering some hints of an RPG-like structure, though they fail to make the side activities truly engaging. The combat system works well thanks to an extensive roster and diverse playstyles tied to the characters' Quirks, but it still suffers from legacy issues such as imprecise collision detection and a frequently problematic camera. For a fan of My Hero Academia, this is undoubtedly one of the most complete and well-crafted titles based on the franchise (though it must be admitted that the bar was set quite low), yet it remains far from the best arena fighters currently available on the market.

Nioh 3 is a bubbling cauldron of ideas and mechanics—undeniably fascinating—now featuring a dual combat system that lets you switch between samurai and ninja styles, both top-tier in terms of quality. Customization is through the roof: you’ll be swimming in thousands of weapons and armor pieces, happily getting lost among the sheer number of skills and moves available right from the start. That said, the game world—more open than ever—still feels like yet another liminal playground built purely for our rampages, lacking a story strong enough to hold everything together. There are no memorable legends or truly empathetic characters to light up its gloomy paths. Difficulty comes and goes in waves, swinging between relatively gentle stretches and brutal spikes of pain, especially when facing certain damn bosses with particularly messy and hard-to-read attack patterns. And then there are simply too many systems in play: too many blessings, the regular parry, the deflecting one, the purifying one, the anti-explosive one. Many of these layers don’t make Nioh 3 deeper—just more confusing, and noticeably less elegant.

Dragon Quest VII Reimagined has been basically remade from scratch and yet it's absolutely faithful in intent and purpose to the iconic original JRPG. It's a valuable revision, especially given the various tweaks, additions, and improvements, but Dragon Quest VII remains by its very nature a fundamentally anachronistic title, entrenched in a specific way of telling stories and playing them. In the end, it's simply Dragon Quest, that's how it is, and otherwise it would be a different series. This Reimagined edition understands this and delivers it in a more contemporary condition, limited only by its conservative spirit.

Ebola Village is an unsatisfactory survival horror, with far too many limitations and flaws to be recommended to fans of the genre. However, those very same limitations and flaws also make it an entertaining product, one that could provide plenty of laughs for lovers of trashy games.

Probably too easy and uninteresting for the hardcore gamer, Eufloria HD is an original, charming and relaxing experience. It's not supposed to be hard and challenging, but there is a peaceful joy in playing it during the night, headphones on.

Riot makes its console debut with 2XKO, kicking off Season 1 and the full release of its new fighting game. Predictably, the title adopts a standard live-service structure, featuring a Battle Pass, in-game currencies to unlock characters—provided you're willing to grind—and a cosmetic shop with rather steep prices. On the flip side, however, is a fighter with a rock-solid combat system and an excellent roster that makes every online match incredibly rewarding, thanks in part to its high-tier rollback netcode. The real question remains whether the game can attract and retain a large enough audience to sustain future updates. 2XKO falls into that 'easy to learn, hard to master' category—a trait that has historically alienated a significant portion of the casual player base.

In Cairn, two opposing philosophies coexist. On one side, there is a dry, nihilistic nature rooted in human incommunicability and in the ambition to understand one another—and to be understood. A stark, primitive soul. On the other, the game sometimes seems to reach for more: at times excessive exploration, quirky characters, and almost fantastical elements. These two identities clash within a videogame that, in its purest form, works wonderfully as a simulator—also a philosophical one—of climbing, and far less so as an adventure. What remains is a harsh and affecting title that succeeds brilliantly at what it was designed to do: convincing you to climb an impossible mountain.

Although the first Code Vein was not a memorable title in the Soulslike landscape, it was still able to hold its own. For this reason, the disappointment is even greater to see how this sequel fails to evolve the original formula and, in some aspects, even ends up worsening it. The combat system remains solid, and the progression system, complex and deep, allows for a good amount of freedom in creating builds, even if it sometimes gets lost in excessive and unnecessary complexity. The narrative, too—less cryptic than the genre's standards and closer to Japanese animation tropes—is pleasant, without leaving a lasting impression. Where the game truly fails, however, is in its world-building and technical department. The result is a Soulslike with good foundations, but today these are no longer enough: in a now rich and competitive landscape, we would have expected a much bolder evolution from this sequel.

Disc Drivin' is a genuinely entertaining multiplayer time-waster, and since it's free it's easy to overlook on its issues.

The concept behind Borderlands Legend is interesting, but the execution is lackluster and the game ends up being a repetitive and unresponsive mess.

Thief VR: Legacy of Shadow is a solid entry in the series and a decent virtual reality video game. The “problem” is that Maze Theory’s work is exactly what everyone expected. The London-based team took its VR know-how and applied it to the world of Thief, without trying to make a real leap forward. VR—and therefore its users—don’t need another title with by-now well-established mechanics at this moment. They need new emotions. Something that does justice to a vocabulary with boundless potential, but which for too many years has struggled to truly take flight. Lately, as can be seen from our reviews of VR titles, the real strength of virtual reality games lies in the universes they are set in. Over time, this clearly translates into an inability on the developers’ part to create something memorable through pure, straightforward gameplay. Something that would make even those who aren’t fans of the comic-book character or the legacy video game brand want to put on a Meta Quest 3.

Kejora visually draws inspiration from the works of Studio Ghibli and offers a primarily narrative-driven adventure, with few puzzles to solve and some light stealth sections. While the game is aimed at less demanding players, the overall experience feels bland and far too limited in every aspect. Recommended only if you are a fan of Studio Ghibli’s works and are looking for something light and undemanding.

Trails beyond the Horizon represents a true turning point—the moment when The Legend of Heroes series breaks with the past and projects itself into the future. We know nothing about the next game in chronological order, but at this point Nihon Falcom can no longer turn back; it can only move forward. The studio has refined the combat system, set the narrative on a path toward its conclusion, and assembled an impressive cast. All that remains is to modernize the technical side; after that, even opening up to new players becomes a secondary concern. From our point of view, the appeal of The Legend of Heroes now lies precisely in the universe it has cultivated over many years of JRPGs—a universe that makes the saga a truly unique experience for genre fans who have the time and desire to catch up on the previous titles. Trails beyond the Horizon has shown that it’s worth it.

MIO: Memories in Orbit does not bring any real innovation to the metroidvania genre. Moreover, it suffers from a few shortcomings, such as poorly placed checkpoints and a certain lack of precision in the protagonist’s hitbox. Nonetheless, it remains a two-dimensional adventure with a striking artistic vision, a solid pacing, and an effective grasp of the mechanics and design principles that underpin the metroidvania formula.

Escape from Tarkov is a game with many flaws and limitations. And yet, its formula — which helped lay the groundwork for the extraction shooter genre — is extremely addictive. It’s not a game for everyone, but in its 1.0 version it stands as an almost essential title for fans of the genre.

Rocket Riot HD is a very stylized arena shooter, with fun presentation and tons of crazy power-ups. Unfortunately, the lack of multiplayer mode highlights the repetitive and unoriginal single-player levels.

Super Crossfire HD is an enjoyable arcade shooter, packed with a good number of levels and some very nice graphics.