Spaziogames

Tales of Berseria Remastered is not a revolution, but a smart reimagining of a recent minor classic. Is it worth buying? Absolutely yes, especially if you haven't had the chance to play it before. And if you've already played it, it could be the perfect opportunity to rediscover Velvet and her story, with a few added conveniences and without the frenzy of modern times. Finally, free from being overshadowed by a year crowded with blockbusters, Berseria can shine as it deserves, and I assure you, it's truly worth it.

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Cairn is a surprising title. It's a game that constantly communicates with the player, and it works harder than many others-blockbusters included-to create an incredible sense of connection between player and played. Climbing, its fatigue, its meaning, are portrayed exceptionally well by the team at The Game Bakers and, provided you're willing to compromise with gameplay that refuses any compromise at all, if you choose to be patient, you'll be rewarded with an outstanding, galvanizing, and in many ways unforgettable experience.

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God of War: Sons of Sparta isn't a terrible game, but it's not a more than acceptable game either. It simply sits somewhere in the middle. It's a spin-off wedged into a series that is too big, too important, and too imposing to afford any missteps. Even back in the days of Ascension, widely considered the weakest entry in the entire saga, Santa Monica Studio made sure to follow a set of guidelines that would still guarantee an epic experience.

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Styx: Blades of Greed isn't a bad game. Within its evident limitations, it has several strengths that could convince many players to give it a chance. However, the game's ambitions clearly clash with an execution that doesn't always live up to its ideas or intended goals, ultimately offering players a watered-down and somewhat messy experience.

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Reanimal once again proves, if proof were even necessary, the strong authorial identity of a development studio finally unleashed, free to express itself without softening or diluting its vision. Reanimal is an auteur horror experience: deeply cryptic and not easy to decode, yet a bold and genuinely rare work within its genre.

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Mario Tennis Fever hits its main goal by putting the pure arcade tennis experience front and center. Fast-paced, fun, and built on several smart ideas, above all is extremely solid in its core mechanics. While the single-player campaign is less engaging than in the previous entry, and the potential of motion controls is largely left unexplored, these shortcomings do little to overshadow what ultimately stands as the most mature and refined chapter in the Mario Tennis saga.

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Yakuza 3 + Dark Ties is much more than a mere commercial venture, as it might seem to the less attentive: it is a bold remake that refreshes a solid but flawed title and resolves nearly all of its issues. While some longtime fans might grumble over the recasting of a couple of characters and a few cuts here and there in the interactions, the vast majority of players will inevitably appreciate the changes in pacing.

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RIDE 6 is not a game that tries to impress through spectacle or radical reinvention. It speaks softly, but with confidence and clarity. Milestone chose to reflect on its own legacy and shape a more mature, balanced experience. The result is a game that values freedom, accessibility, and respect for the sport it represents.

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Nioh 3 is a game that breathes ambition, a title that dares and isn't afraid to throw the player into chaos. It's frenetic, brilliant in many moments, and incredibly rewarding when you master its complexities. The combat system is deep and layered, and the introduction of Samurai and Ninja styles adds a level of tactical choice never seen before.

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Dragon Quest VII Reimagined is probably the boldest of the three remakes released by Square Enix over the past couple of years: not only because the original title had already received an excellent remaster on 3DS, but also because the changes introduced here are less trivial and arguably more targeted than those the Erdrick trilogy actually required.

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Mio: Memories in Orbit is an elegant and rigorous metroidvania that puts all its focus on exploration and precision. Its world is fascinating to traverse, the movement system is solid, and the bosses provide a genuine challenge. The narrative, however, remains in the background, and the combat system lacks meaningful evolution over time, staying consistently minimal. This is a game that asks a lot from the player and doesn't always return an equally strong emotional engagement, but it still manages to leave a mark thanks to its visual identity and the coherence of its design.

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Code Vein 2 is the classic example of a sequel that refuses to settle. It doesn't take shortcuts, nor does it simply refine what already worked; instead, it deliberately tries to expand its scope, even at the risk of overreaching. This choice inevitably creates imbalances, and the game makes no effort to hide them: ambition often exceeds the ability to control it, layering sometimes turns into redundancy, and some solutions struggle to take a fully realized form.

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Trails Beyond the Horizon is a game that demands attention, memory, and patience, but in return offers a vast, layered, and coherent narrative, something few JRPGs manage today. The combat system is solid and rewarding, side quests and optional modes add depth, and those who have followed the series so far will find continuous satisfaction.

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Sure, it could have been completely free, but it remains an overall honest and non-obligatory update , perfect for those who have never left their island in all these years and want to continue enjoying it on Nintendo's new console.

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This first test of My Hero Academia: All's Justice suggests Bandai Namco's determination to create the biggest and most ambitious installment in the saga. A game that perhaps aims to go beyond mere fan service and offer, even at a risk, something more. While we wait to see how all these elements will fit together to maintain the overall balance of the offering, a certain solidity and awareness is beginning to take shape.

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Code Violet is one of those games that is born convinced it has something to say and dies without ever really finding the right words. It leans on a powerful imagery, uses it as a crutch, and then lets it fall, unable to stand on its own. A spectacular failure, and this is its true problem: it is a timid, confused product, lacking the identity necessary to turn inspiration into vision. When you play with the ghosts of the past, you should know how to evoke fear, not nostalgia. Here, neither happens, and all that remains is the feeling of having witnessed a wasted opportunity.

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Lumines Arise is a successful return of a formula that still works today, dressed in an aesthetic that unabashedly pays homage to the Japanese Experimental Wave to which it belongs by DNA. When everything clicks (music, effects, difficulty, grid readability), it's exactly the kind of experience that makes you say 'just one more skin and I'll stop,' only to realize an hour has passed.

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Marvel Cosmic Invasion is a small but heartfelt tribute to fans of the Marvel universe. It's an old-school experience that shows once again how the world of video games never gets tired of the arcade feel of the past. There's a bit of disappointment about the lack of extra content, but Tribute Games' effort is still something to admire.

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Romancing SaGa: Minstrel Song is a work that embraces its past and chooses not to hide it. It makes no effort to appear more modern than it is, and perhaps that is exactly what makes it so captivating. A complex journey, at times hostile, yet capable of offering a sense of freedom that few contemporary JRPGs can provide. And now that it finally speaks Italian as well, one can say that its world is, for the first time, truly open to everyone.

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