Probably Stolen barely manages to reach the so-called break-even point, morally incapable of covering its own operating costs. It's a game that doesn't go beyond the bare minimum of competence, lacking the ideas to stand out both among other cyberpunk games and within the simulation genre.
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Although limited combat and pacing issues prevent Stupid Never Dies from reaching its full potential, the mechanic that allows Davy to absorb abilities from other creatures and adopt different fighting forms provides a solid, distinctive edge to the gameplay. The result is an uneven experience, yet one with enough creative ideas to sustain its charm until the very end. After all, if not even death can stop Davy from pursuing love, then a few gameplay flaws certainly can’t bury this adventure.
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For all intents and purposes, Silent Hill: Townfall still feels like a traditional Silent Hill, even with both its first-person perspective and the CRTV as defining gameplay gimmicks. Despite some pacing issues and overly tedious exploration sequences, the game makes up for them with a strong atmosphere and themes, proving that the franchise can experiment with new perspectives without losing its identity.
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While it boasts an interesting and clearly functional premise, Sovereign Tower’s biggest issue is that it unmistakably runs out of steam as the campaign progresses, unable to sustain the creativity found in the opening chapters. The result is an experience that starts out addictive but ultimately reveals the limitations of a product that, while valuable, would have benefited from further refinement.
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Beast of Reincarnation is akin to a botanical graft that successfully blends its influences to create something that, while capitalizing on the current game design trends, also retains a sense of honesty in what it wants to deliver and, of course, still serves as a reminder that Game Freak is still capable of producing sufficiently distinctive experiences when given the opportunity.
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Disgaea Mayhem delivers a merely mediocre result in what it proposes: it fails as a clone of Musou in terms of gameplay and fails to exude all the charisma of the brand it supposedly represents.
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Despite primarily being a diver, Dave managed to hold his own quite well on dry land. Although the expansion lacks the same spark of originality that the base game brought at launch, it was a good idea to use the reduced scope to promote certain gameplay experiments.
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The Remake of the End of the Greatest RPG of All Time is more intriguing on paper than as a practical experience, even if its brilliance lies in the fact that it is, in essence, a puzzle. There's a genuine fondness for classic RPGs and all the mythology surrounding them, but, like in Tenacious D's music, the game tries hard to discuss them, but it's just a tribute, one that gets lost in its own idea to the point of becoming just another example of what it mocks.
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espite some pacing issues and excessive repetition, YunYun Syndrome: Rhythm Psychosis is an incredibly fun experience with a full self-awareness of the slightly deeper layers of the otaku sphere it both represents and engages with.
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Without resorting solely to superficial mythological elements, Cthulhu: The Cosmic Abyss does a decent job of structuring its experience around investigative gameplay while also exploring the thematic dichotomy between a logical approach to often illogical cosmic events. While this may not be particularly original within the genre, finding such a consistent execution is still far from common.
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The ordinariness of Etrange Overlord's gameplay somewhat limits the enjoyment of the game, even though Etrange Overlord succeeds in fulfilling its promise of offering a light and accessible experience, especially due to its graceful narrative and visual presentation.
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Strangely inviting due to one of the most forgiving parry systems imaginable, Homura Hime is a really cute game, managing to offer fun through competent and fluid gameplay, although it would benefit from more challenge aimed at the more experienced players in the genre.
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Fatal Frame II: Crimson Butterfly Remake is a fairly efficient reconstruction of a classic. Playing it safe in its approach, it's a competent production that manages to be inviting for both newcomers and veteran players who will feel reassured to see that Minakami hasn't changed much since their last stint, although there are enough new elements to make them feel immersed as if it were an almost fresh experience.
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No Sleep For Kaname Date — From AI: The Somnium Files is a functional, technically solid console release, but offers little incentive for players who already experienced it on PC or Switch. With its smaller scope and limited narrative impact, it’s easier to recommend to existing fans who couldn’t access previous platforms than to those considering a replay.
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Without the perks of modern AAA powerhouses at its disposal, Romeo is a Dead Man is a true masterclass in how to create a video game, embracing modernity without abandoning the DNA that makes Grasshopper Manufacture's work so unique in its own strangeness. It is, easily, the studio's best production in at least 15 years and certainly a worthy contender for the pantheon that includes names like Killer7, No More Heroes, and The Silver Case.
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Although Pathologic 3 is much more accessible than its predecessor, it's still far from being a welcoming or even minimally simple experience, as it relies on hostility and discomfort as its main attributes—and its less-than-ideal optimization unintentionally contributes to this. Obviously, it's a design that will certainly alienate a large part of its audience, but it's also what makes it a unique experience capable of appealing to its niche through its peculiarity.
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In a straightforward and objective way, Ninja Gaiden 4 is on par with the original trilogy — the problem is that the last game was released over ten years ago. Even though it's competent, the lack of diversity during the campaign noticeably hurts the final product. Everything the game delivers, it does so violently. And violence, when overdone, loses its intended shock value.
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Yakuza 0 Director's Cut is still Yakuza 0. The classic experience remains magnificent, backed by all the extravagance and charisma so characteristic of the franchise. Even though it's a victim of a marketing stunt that unfortunately don't match the result delivered under a "Director's Cut" label, the title maintains its mystique intact, exuding spectacle, noise, and an intensity like a dancing dragon across the night sky that, thankfully, refuses to turn off the lights in a everlasting party.
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It's pointless to make a game that explores a particular theme without actually trying to understand what makes it so special and, consequently, embedding that into the core of its development. The Executive - Movie Industry Tycoon is a product that embodies this problem. It's a title that clings to a sterile logic of numbers, algorithms, and volume, like a bland production aimed directly at streaming.
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After a year and a half of early access, Kill It With Fire 2 finally reached the state of a definitive release, it's a sequel that managed to understand all the flaws presented by its predecessor and twist them to deliver a much more robust, interesting, and fluid product in its own right. If the first Kill It With Fire felt like a demo, its sequel is a complete experience. And it's great to see such a clear evolution for a project like this.
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