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.