Lucas Barreto's Reviews
Clive Barker’s Hellraiser: Revival aptly incorporates the myth of Orpheus and Eurydice into its narrative—a foundation that also underpins some of the best horror games, such as Silent Hill 2, Signalis, and Resident Evil 7 biohazard, among many others. The most significant difference here, perhaps, is that at no point does the title attempt to convince us that Sunny is a person worth the effort (quite the opposite, in fact).
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Although my experience with Dynasty Warriors is relatively recent, I found great appreciation in revisiting the title where (almost) everything began. Having experienced the Romance of the Three Kingdoms three times this year alone, I already hold the characters in high regard, and seeing them at their origins makes me appreciate the new entries even more. Here’s to another 25 years of fierce battles, larger-than-life characters, and strengthened dynasties!
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Despite minor flaws, Village is an incredible experience that successfully rides the wave of the series' renaissance and expands beyond its comfort zone.
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Resident Evil 7 is more than just an excellent survival horror game: it is a reminder that the franchise can reinvent itself by returning to its roots.
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The Switch 2 port finally brings a major title from the 2010s to a Nintendo console and, despite some hiccups, makes an important work in the medium's Western history accessible. For the Nemesis System alone, the experience is very easy to recommend.
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I feel that for every improvement over Shadow of Mordor, Shadow of War introduces a new downside. Distinct maps, yet a repetitive loop. New enemies, but a stretched-out story. I still believe it is a highly worthwhile experience—even though the narrative conclusion is, to put it mildly, a letdown—and having the Middle-earth duology on the Switch 2 is a fantastic gift for Nintendo fans who love Tolkien.
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Roman Sands RE:Build was the first narrative title of 2026 to intrigue me, primarily because it recognizes that the defining feature of games as a storytelling medium is gameplay, not text. Text serves merely as a tool to shape the interactive experience; in fact, the dialogue—while pretentious and repetitive—does not negatively impact the adventure, given the nature of its time-based theme, but actually sets a fitting tone for the work. But when a technical issue prevents the player from experiencing the work as intended, the promise unfortunately cannot be kept. A narrative that seeks to draw an intriguing parallel with Plato’s Cave—in a game of philosophical perceptions that is far from juvenile—ultimately remains trapped by the shadows cast on the wall, with the exit sealed off by a bug.
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I admit to being curious about future projects from the developers of 1000xRESIST, as I recognize their immense potential. However, I find it impossible to place the game on a pedestal, having been somewhat frustrated by its writing.
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One mistake many critics make in their analysis is judging a work by what it could have been rather than by what it actually is. If you go in expecting a "Souls-like" experience, you are unlikely to appreciate Wo Long. But if you view it as a dark fantasy take on Koei’s greatest strengths, blended with elements from various Team Ninja titles? It becomes very hard to put the controller down.
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If I could make one wish, it would be for Starsand Island to have spent a little more time in the oven. I was initially excited for the patches, as I really wanted to play a polished version of the game. After a few crashes forced me to replay entire days, boredom set in, and the title will have a hard time winning back my goodwill.
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If Pinocchio is driven by the desire to be real, the developers at Round8 Studio are driven to create a work that stands tall alongside its peers. The truth is, at times, they manage to surpass them.
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Acknowledging the title's limitations, I believe the experience is satisfying for those seeking short play sessions, especially in handheld mode. I must admit, however, that the scale of the pixel art gave me a bit of a headache, as I had to strain my eyes to distinguish between enemy and friendly ships, shots, power-ups, and even the arrows identifying the different types of sockets.
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It’s possible that I’m simply not the target audience for the series. Which is funny, to say the least, considering I’m a huge fan of cyberpunk—and books in general. What initially struck me—and what Citizen Sleeper 2 seems to confirm—is that the series straddles two worlds (gaming and literature) yet lacks the strength to fully realize itself in either. The writing is as weak as Wattpad fiction, and the visual experience is as monotonous as nature sounds meant to cure insomnia.
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There are two-hour games that yield 10-page articles, and 100-hour games that only get two lines of commentary. Worse than a bad, poorly made game, Outbound becomes apathetic, and there's nothing more frustrating than leaving an artistic experience without a strong impression.
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Despite recommending the experience, I have several reservations. Even though these points are common in the market, I believe there's an artistic tradition that should raise the bar for quality. The title intrigued me during the experience, but now I'm looking forward to a new game from the team that goes further, breaking free from a self-explanatory need that condescends to the player instead of provoking and challenging them.
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Even with a port that compromises the qualities of the game, the Switch version carries the best aspect of games of this type: portability. There's nothing better than doing some puzzles, cleaning some objects, and making a sale or two in between activities. Furthermore, the game manages to break away from the simulator mold, giving us more of a desire to perform handcrafted tasks than training us for an increasingly gamified job market.
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Despite the significant technical evolution, it's extremely evident that Planet of Lana II is more of a step on a staircase than a floor in a building. After finishing the game, I have no doubt that, at the end of the trilogy, the current title will be seen more as a "Two Towers" than as an "Empire Strikes Back".
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Darwin's Paradox! isn't exactly the game I thought it would be, which isn't necessarily a bad thing. Based on references to other games and the project's comedic tone, I expected a title that would make fun of an octopus's unusual movements, but the approach here is the opposite: a fast-paced, simple game with diverse scenarios.
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Recommending The Midnight Walk is almost trivial. It's a reflective, beautiful, and fun journey. The Switch 2 version follows the pattern of many ports I've been reviewing recently: it's in no way inferior to the original versions. Of course, the lack of VR can be pointed out, and if the reader is interested in that technology, I suggest they look for the game on PC or PlayStation 5, depending on the compatibility of their available hardware.
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I believe I don't have much to add given the extremely positive reception the title has already received since its release ten years ago. Its loop is engaging, its characters are lovable, the levels are complex… it's a tactical game that's hard to fault. Even with limited enemy variety, it's their availability and different routines that give the experience diversity.
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