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Gylt is a short game, lasts about 4 hours, is simple in its design and execution, but manages to entertain. Visual aesthetics are its strongest point, the use of a child as the protagonist means that it is better to avoid confrontations. While survival horror, Gylt feels like an initiation game designed for the younger ones, as it is not scary and the resource management is minimal. It is based on the same pillars on which the great references were built.

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It is noticed that the producers created the game with family in mind. The challenge is not the most refined, it lacks a good dose of puzzles and that degree of production more careful, evidenced not only by the metroidvania but by titles like Rayman Legends that also operate in the horizontal side scroll. Here the characters move to reach the objectives and overcome the obstacles, dodging the enemies and avoiding the successive traps set on the way. It is therefore a long obstacle course, labyrinthine and accessible. Still with the typical trait and originality of a Disney animation.

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Exoprimal turned out to be something unexpected for me because I couldn't imagine enjoying playing it so much, because when it comes to the gameplay, it manages to wear that electrifying and frenetic tone that I love so much at Capcom. However, the design that forces you to repeat the same mode (with few maps) to progress the narrative and get rewards such as cosmetics or modules, will test players' patience too much. Despite the electricity of an arcade-tone Capcom-leaning Overwatch-influenced experience, the PvE gameplay with final PvP stage makes Exoprimal a lot of fun and even different, but the design and structure around the gameplay leaves me totally confused.

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The pace of the game is high and steady in challenges, with few dead moments, no intrusive or drying dialogue. It is a direct and intense game in the missions, able to remember the catadupa of events and challenges of a Mario Galaxy, for example. And at the same time it is delightful in art, in a very planetary sphere and at the same time human and realistic, and also possessing an appreciable physics, although here and there with some frame rate breaks, which fortunately little or nothing affect the gameplay. There is almost a commotion when we leave behind these creatures, so essential in the multiple rescue missions, but it is possible to return to the PNF-404, with the salvation Otchin, for another dandori missions, in which organization and efficiency are essential for success. It's nice when a game exudes a message as well.

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In fact, having not previously played any amusement park simulators, Park Beyond was exactly what I expected. All sorts of actions I performed throughout the game and all the mechanics included were more than expected, but I don't consider that to be entirely a bad thing; It is not necessary to reinvent the wheel when it is in perfect condition. Throughout the time I've spent with the game, my main notes are related to its performance and, given its price of 50 euros on Steam, I had a more polished experience.

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In an obvious perception of evolution, M2, Taito and Inin Games offer both for PS4 and Switch (the analyzed version) a compilation of proven quality, with minimal latency times, impeccable sounds and a section of options and progression parameters that make visible the segments where the gains and failures happened, in the always essential repetitions. Infinite credits are almost essential to start playing, but the time invested here is regained in this realm of art between continuous firing and "lock on" attacks. Some more content would give other reasons to play or replay, still an edition enhanced with three good games, which is not only for Japan.

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If Kanai Ward's aesthetics, character design, art and environment are convincing, from a performance standpoint some frame rate breaks are detected, especially on the walk through the city. Some loadings are also time-consuming and there are passages where some approximations to objects or characters reveal fewer textures. Still and for the type of proposal that it proposes to build, in the universe of mystery and crime games, this title manages to entertain and provide a consistent challenge, with a pleasant variety of mechanics and segments of hints and clues, even if these mostly prove to be of great simplicity. However, it lacks the desirable balance between the slower moments of investigation with the fast pace of the mysterious labyrinth, to the point of providing a better rhythmic and more captivating experience.

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Final Fantasy 16 has become one of my favorite games in the series and despite the problems of inconsistency in pace and quality (those fetch quests are really banal), the good is really good and that's what prevails. I confess that the linear design with larger areas is a breath of fresh air in the middle of the huge open worlds and I loved the action combat that pulls for your talent. The Game of Thrones-style storytelling and the use of Final Fantasy lore in such a bold way are worthy of applause.

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Visually, Milestone did a good job, even if it didn't eliminate some loadings. In any case, the representation of the riders is pleasant and their movements on top of the bike and in response to the contact of the tyres with the asphalt is consistent. Far from being remarkable a great improvement over the past edition but there seems to be some more brightness and color, especially if we control a Ducati rider, perhaps by the red color in contrast to the dark of the asphalt and the blue of the sky. Perhaps only the most diehard fans want to renew and enjoy the new entry into MotoGP. Although with some nice improvements and tweaks, both in the driving, in the career mode and in the dynamic weather conditions, there is nothing substantially new to justify the immediate entry into the tracks. Too bad the absence of the development of the "nine season 2009" mode, which revitalized the mythical duel between Rossi and Lorenzo.

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F1 23 is a good effort on Codemasters' part, in a franchise that is released year after year. It is a complicated task to implement major novelties in just 12 months, but this time it was noticed that they struggled. We have a more desirable Braking Point 2, an F1 World full of competitions and challenges, and the implementation of the Super License and Tech Level that give the depth that was missing. Those who feared the possibility of this being just a year dedicated to updating the drivers and cars, can rest assured. This season is one of the best of recent times in the universe of virtual Formula 1 racing.

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Diablo 4 is a game that reveals enormous competence in all quarters on the part of Blizzard, and a strong understanding of what a loot-focused dungeon crawler should be. The campaign is a footnote in the overall picture of Diablo 4, but get ready for the core mechanics and the endgame, where you'll easily find yourself surrendering to the gameplay cycle to progress through difficulties and constantly manage the highest risk vs. the greatest reward. The depth and robustness of class management and customization, the activities and the fun of the gameplay make Diablo 4 a very special game.

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With racing trophies, mini-games and access to online racing, the content is far from in short supply. But it's the saturation effect, derived from the very accessibility or ease with which missions are completed and other times by their rudimentary nature that makes the experience less remarkable. In constant walking from one side to the other, it is in the moments of construction that a car is produced to taste. If other games of this toy brand left good memories after landing the controller, this driving title, while interesting, is not particularly surmountable in some area. It works well and manages to reach a wide audience, but you quickly forget the time spent on the road, leveling up.

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When Gollum was announced, it sparked immense curiosity about a game with scenes unseen in Middle-earth and his journey through Mordor even has interesting scenes. It's a shame that most of your time it's just boring or that it leaves you feeling like you're better off playing something else that does everything you want to do here.

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But at the same time it introduces with the Drive system a series of nuances and mechanics that enhance the strategy within the classic system, which will tell so much to veterans. Reinforced in the online component and more formative, it is the most friendly and simultaneously challenging Street Fighter. It injects new blood into an innovative, refreshing combat system that is at the same time endowed with the subtleties that make mastering a fighting game demanding.

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Miasma Chronicles was my first experience of the workings of this studio, somewhat a disappointment after learning how good Mutant Year Zero was. It is a fact that it has its moments, but they are insufficient to convince and highlight it as a way of walking in the improvement that has already been achieved. If you like these games you will have an interesting challenge here, but be aware of the gaps evident in several fundamental points.

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WWE 2K23 marks the return of the series to the annual format. Although this delivery was better than the previous year's, there was scope for more significant improvements with extra development time. The new formula is solid, as the previous game had already proved. But for those who acquired WWE 2K22, this year's proposal may not have enough arguments to justify the price of a new game. There are small improvements here and there. The Tag Teams fight together in the Royal Rumble, which makes sense. War Games mode was included. But overall, it feels more like an update and not something new. It's a problem that cuts across all the annual games.

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To the large size of the campaign and an exploration based on three layers or dimensions of Hyrule, there is an immense creative power, capable of modifying the experience, always with the puzzles in sight, the mental gymnastics supported by beautiful melodies, a refined language and a remarkable artistic dimension. Again called upon to return peace to Hyrule, Link comes close to the gods.

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The concept, as I said at the beginning of the text, has potential. There is no game on the market to unite the concept of vampire slayers with a looter shooter. It remains to be seen whether Arkane Austin will be able to reverse the sorry state of the game through successive updates. It would have been better to have released Redfall as an early access game, because that's what it sounds like. An embryonic idea, with many loose ends, in which the game systems do not work in unison.

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Ravenlok is one of those games to play and simply feel happiness, with a strong dose of comfort conveyed by its charm. It's not difficult, it doesn't last long and it doesn't try to "mellow" you with artificial things to last longer, it chooses to uncomplicate and make the journey its greatest asset. With a lovely story and immense charm, it strikes the balance of the overall experience and its focus on entertaining the player.

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Dredge is a clever game with a lot of ingenuity in the way it is able to surprise and grab the player. Afloat, it's a fishing and management game with a gameplay cycle that conquers frictionlessly, but it's when you dive into its waters that you can no longer escape its bait. The cosmic horror that ties the entire narrative together will make you as obsessed with figuring out what's going on here as much as the gameplay to improve the boat.

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