Press Attack
HomepagePress Attack's Reviews
Riven is a puzzle game developed and published by Cyan Worlds, Inc. Following the events of Myst, a new adventure full of mysteries and intrigue begins. With a new quest and new puzzles, visit Riven, a mysterious world on the brink of collapse. Explore diverse environments and uncover the secrets of Riven.
Summerhouse is a relaxing city-building game developed by Friedemann and distributed by Future Friends Games. Choose a setting, whether city or countryside, to build your house the way you want. Use the available objects to create a relaxing and cozy atmosphere.
Myst is a puzzle game developed and published by Cyan Worlds, Inc. On the island of Myst, mysteries surround the land. Travel between the so-called Eras and solve the puzzles scattered throughout them, while you discover more about a family conflict and its consequences. Pay attention to the clues and unravel all the mysteries in Myst. A revamped classic, Myst delivers a more modern-friendly game without sacrificing its strengths. The puzzles remain interesting and challenging, as they should be, always requiring the player to explore and note down clues (or take photos) to progress. The environments create a pleasant sense of strangeness, like a place with structures that shouldn't be there, but which lend an air of mystery to the game. Everything here is important, and you'll use everything from your logical abilities to your auditory perceptions to advance the story.
Froggy Hates Snow is one of those games that manages to deceive you within the first few minutes. With charming characters, lighthearted visuals, and an almost cozy art direction, the initial impression is that of a relaxing adventure. It only takes a short while to realize that the reality is very different. Inspired by the formula popularized by Vampire Survivors, the game embraces a roguelike structure that blends survival, exploration, permanent progression, and increasingly intense combat encounters. Taking control of a lovable frog and his unlockable companions, players are thrown into frozen landscapes where the goal is to gather resources, upgrade abilities, uncover secrets, and most importantly, survive. The formula works remarkably well because the game does not rely solely on enemy hordes to create tension. There is a constant sense of urgency. The clock is always ticking, enemies become increasingly dangerous, and the search for keys and exits turns every run into a race against time.
Mars Attracts is based on the Mars Attacks universe, a property that originally began with the famous trading cards released by Topps in the 1960s before becoming globally known through Tim Burton's 1996 film adaptation. Anyone who has seen the movie will immediately recognize many familiar elements. The Martians still have their oversized heads, exposed brains, cruel behavior, and completely twisted sense of humor. The difference is that there is no global invasion taking place this time. The war is already over, and the aliens have turned humans into a tourist attraction. This shift in perspective is the game's greatest strength. Mars Attracts understands exactly what makes the franchise entertaining and builds its entire concept around it. Humans are studied, observed, displayed to the public, and frequently subjected to absurd situations that fit perfectly within the signature humor of Mars Attacks.
In an industry constantly trying to reinvent formulas, few games manage to look back at the past without feeling like an empty tribute. Abathor is one of those rare cases. Developed by the Spanish studio Pow Pixel Games, the title combines action, platforming, and classic fantasy to deliver an experience that feels straight out of the golden age of arcades, while adding enough refinement to appeal to modern players. Inspired by classics such as Golden Axe, Rastan, Castlevania, and even Metal Slug in certain aspects of its presentation, Abathor places players on a journey through Atlantis as they face monsters, colossal creatures, and challenges spread across more than 50 stages. The result is an adventure that understands its inspirations remarkably well and successfully transforms them into something of its own.
Surviving a zombie apocalypse is already a difficult task, but when you have to manage the resources and mental health of several people at the same time, things can get complicated. When starting a game, you choose between several pairs who have a backstory behind their relationship. Every character will have a positive and a negative trait; it's up to the player to decide which one they will have to deal with during the game. The characters evolve, leveling up and acquiring new skills that will facilitate some aspects of their journey. Your team of survivors can grow, as you can find people on your expeditions and choose whether or not to bring that survivor to your shelter. Generally, they will have some negative condition, such as illness, grief, or nightmares, which are conditions that affect their hunger, fatigue, or morale stats. These stats are crucial for maintaining your characters, as they affect their performance in the shelter and can cause problems for all survivors. Each character has a unique story, unlocking specific missions linked to their stories. The game is in Brazilian Portuguese, which makes it much easier to follow the stories and understand the game mechanics.
Warhammer 40,000: Mechanicus II builds on an extremely solid foundation from the first game and takes an interesting path forward. Instead of completely transforming its identity or chasing genre trends, this sequel expands the scale of the conflict and adds new layers around its tactical combat. Players now choose between two complete campaigns, taking the side of either the Adeptus Mechanicus or the Necrons, each with their own characters, progression structures and perspectives on the conflict. At the center of this dispute is Hekateus IV, a planet that stops being just a setting and becomes an active piece of the campaign. The war does not happen only inside missions. It happens between them as well. The result is a game that tries to turn every territorial advance, every completed mission and every chosen unit into something connected to a larger structure.
iRacing Arcade is a racing and "management" game developed by iRacing. Derived from the original iRacing game, iRacing Arcade blends classic championship racing with a minimalist aesthetic, where the cars look almost like toys, with a campus management system where you can create structures like garages, engineering facilities, etc., to gain boosts, upgrades for your cars in terms of engine and damage, as well as other adjustments. You have the option of having some AI racers, as well as acquiring new cars, colors, helmets, and outfits for your driver.
Investigation games usually follow relatively predictable paths. Many rely on cinematic storytelling, lengthy dialogue, or highly guided sequences where following markers is enough to trigger the next discovery. FORENSIC - M.E. Protocol attempts something a little different. Here, the goal is to place the player in the role of a forensic investigator who must observe, collect evidence, interpret crime scenes, and gradually build a logical sequence of what may have happened. The structure revolves around nine standalone cases, each presenting different situations ranging from crimes of passion to kidnappings and scenarios that attempt to deliver small narrative twists. The intention is clearly not to create a spectacle-driven police thriller, but rather a contemplative experience where the player dictates the rhythm of the investigation. The result is a game that finds its own identity precisely because it understands its limitations and works within them.
Better Than Dead is one of those games that knows exactly the kind of feeling it wants to create in the player. From the very first minutes, it becomes clear that the goal here is not to deliver a comfortable, clean, or traditional experience. The game heavily relies on visual filters, distortions, and especially an exaggerated FOV to create an extremely aggressive sense of immersion. At several moments, it feels less like playing an FPS and more like watching recovered bodycam footage during a chaotic police operation. What is interesting is how the game avoids certain technical limitations. Instead of trying to deliver ultra-realistic faces and ending up in that uncanny “almost real” territory, Better Than Dead prefers to censor, blur, or hide almost everything involving detailed facial expressions. This ultimately works in favor of its aesthetic direction. Discomfort becomes part of the visual design. The campaign follows a survivor of human trafficking seeking revenge against a criminal organization in Hong Kong. The narrative exists more as fuel for violence than as the central focus, but the context significantly enhances the game’s brutal atmosphere. The city’s hidden corners, decaying buildings, and narrow hallways constantly reinforce the idea that we are exploring a rotten and forgotten side of that world.
There are horror games that rely on cheap scares, constant chases, and excessive action to keep players under pressure. Necrophosis follows the exact opposite path. Its focus lies in contemplation, atmosphere, and especially in the way the world communicates its own decay through exploration. From the very first moments, it becomes clear that the goal here is not to deliver fast-paced gameplay. Movement is slow, heavy, and extremely methodical. Every organic corridor, colossal structure, and deformed creature exists to be observed carefully. The game constantly invites the player to stop, look around, and absorb the grotesque details of its universe. The narrative follows a world consumed by Necrophosis, a curse tied to the deterioration of existence and the gradual loss of consciousness. Throughout the journey, the player crosses regions that blend ancient civilizations, living flesh, and ritualistic structures while trying to understand the cycles of death, rebirth, and corruption that dominate this universe.
There is something very special when a game manages to transform small everyday problems into great stories of survival. Space Haven understands this remarkably well. Instead of delivering a cinematic space adventure full of explosions and heroism, it bets on something much quieter and, at the same time, far more immersive: survival. Here, you are not playing the role of a galaxy-saving hero, but rather someone trying to keep a small crew alive aboard an improvised ship lost in the emptiness of space. The premise is relatively simple. After the collapse of civilization on Earth, groups of survivors wander through space searching for resources, shelter, and a new beginning. What sets Space Haven apart is that it does not try to tell this story in a traditional way. Do not expect lengthy dialogues, cinematic cutscenes, or heavily scripted characters. The true narrative emerges naturally from the situations created during gameplay. Every abandoned ship explored, every medical emergency, every unexpected loss, and every bad decision gradually forms deeply personal stories. That atmosphere was precisely what hooked me the most during the experience. There is a constant feeling of isolation and vulnerability that the game conveys naturally. Everything feels fragile. Your ship is fragile, your resources are limited, and your crew is always just one problem away from disaster.
There is something very special when a management game manages to make you laugh while you desperately try to stop your own administration from collapsing. Sintopia understands this from the very first moments. Instead of relying only on numbers, spreadsheets and cold systems, it builds an incredibly creative universe where hell works almost like a bureaucratic company, filled with peculiar employees, unexpected crises and decisions that can quickly spiral out of control. Humor is one of the strongest aspects of the experience. The simple idea of calling Lucifer “Lu” already sets the tone of the adventure, creating a world that does not take itself too seriously while still maintaining a very strong identity of its own. The campaign becomes practically mandatory, not only to understand the mechanics, but because there is genuine pleasure in discovering new worlds, dealing with the Humus and managing each regional hell while chaos slowly organizes itself… or gets even worse.
At first glance, Wardrum might seem like a roguelite, a fact worth mentioning to avoid frustrating newcomers. Losing repeatedly will be part of the journey, and each restart will offer improvements, allowing you to enhance certain aspects for your next attempt. With that said, let's discuss its main mechanic: rhythmic attacks. In this turn-based combat game, every attack or skill, whether a melee strike or a spell, requires the player to press buttons in the correct rhythm for optimal results. This mechanic is essential, often being the deciding factor in battle—perfectly timing the rhythm for good or missing a beat for evil, leaving your opponent alive for another turn. Always pay attention to which buttons you need to press, as each action and skill requires a different button combination, which can often be confusing. Although there's a pre-attack phase that's a kind of training to learn the required combination, when it really counts, it doesn't make that much difference, since you'll need to concentrate to do your best. Despite each action always having the same rhythm and button pattern, this doesn't make your life any easier, as there are different types of characters with different abilities, and the variety of buttons is very large, making this part of the game much more important than any other.