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.

Forza Horizon 6 is exactly what the community has been dreaming of for a decade: the pinnacle of arcade driving transposed onto the backdrop of Japan. Playground Games' Tokyo is dense and technically superb—capable of delivering breathtaking vistas even on the Series S—yet it is impossible to ignore a sense of "stagnation" that feels perhaps a bit excessive. The structure, progression, and even the prologue faithfully mirror what was already seen in the Mexico of Forza Horizon 5; this risks making the sequel feel more like a majestic expansion than a true revolution. Not that this is a bad thing! [Hands-On Impressions]

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?