Digitec Magazine

"Crown of Greed" replaces direct control with indirect incentives, which takes time to get used to and isn’t always well explained. The rough onboarding, occasional lack of clarity, and limited hero progression hold it back. But once it clicks, it offers a distinct strategic flow where your influence feels meaningful without full control.

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If you enjoy quick progression, don’t mind restrictions, and appreciate offbeat humor, this game might click with you. Still, a tip: it’s best enjoyed in short bursts, where its repetitive elements are less noticeable.

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An atmospheric action game with enchanting 2.5D pixel graphics. The combat is wonderfully dynamic. When it all comes together, I feel like John Wick on steroids – or whatever the performance-enhancing drugs are called in this retro-futuristic world.

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The idea of turning a boomer shooter into a cartoon-style game is bold enough. To then set it in black and white in a world of mice is downright crazy. But it works brilliantly. A highly political story, combined with offbeat humor and slapstick, makes Mouse P.I. a fantastic single-player shooter.

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After hacking my first robot, I briefly wondered whether the concept could carry me all the way through. The game quickly puts that concern to rest. Pragmata strikes a confident balance between accessibility and challenge without ever losing its footing. The hacking system evolves alongside you, the combat stays fresh until the very end, and the hideout ensures progression never feels like a chore. As Hugh and Diana grow closer on screen, the thin story hardly matters. Capcom’s moon landing is a success.

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“Retro Rewind” isn’t particularly demanding, but it charms with its atmosphere and the joy of unlocking items to expand your video store. After about 20 hours, everything is unlocked, and it started to lose its appeal for me. For longer-lasting fun, the game needs more depth.

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“Darwin’s Paradox!” is short but excellent. Its simple concept shines thanks to challenging gameplay, creative puzzles, and a wonderfully atmospheric presentation. Despite a few minor weaknesses, such as the stealth sections, it’s an easy recommendation for platformer fans.

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In the end, it’s a game that promises more than it delivers. “Nutmeg!” has ideas, style, and character, but nowhere near the depth and clarity needed to stay engaging over time. The concept works for short sessions, but as a full-fledged football manager, it lacks substance.

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“Life is Strange: Reunion” closes a chapter I didn’t even realize was still open. Of course it’s blatantly calculated fan service, but is that really such a bad thing? At a time when the gaming industry often seems to be producing games that miss the community entirely, that almost feels subversive. It isn’t perfect — and that’s a good thing. Life is strange, and sometimes video game reviews are too.

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I stand by it – Super Mario Bros. Wonder is a masterpiece and the best 2D Mario of all time. However, the upgrade isn’t worth the extra cost. In many ways, it feels like Nintendo only did the bare minimum to justify this Switch 2 edition.

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Screamer is clearly a passion project, and the developers’ enthusiasm shows. The Echo system is clever, the visuals are strong, and the scope is impressive. However, forced vehicle choices, an uneven difficulty curve, and a story mode that gradually wears down your patience hold it back. Many ideas are exciting but feel underdeveloped, leaving an anime racer that ultimately loses sight of its own potential.

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At 36 hours, I practically raced through Death Stranding 2. You could easily spend twice as long on the game. There’s plenty to do. It’s thanks to the asynchronous multiplayer and the much more accessible transport system that I was able to get through it so quickly. But also because “Death Stranding 2” no longer exudes the same fascination as the first instalment. Many elements of the story are too repetitive, and despite new transport options, the gameplay no longer exudes the same originality as it did back in 2019.

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If you look up the term ‘open world’ ‘Crimson Desert’ is bound to be listed right next to it. Because you can’t get much more open-world than that. It offers a world in which you can completely lose yourself. What could be better?

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Monster Hunter Stories 3: Twisted Reflection” isn’t flawless. The story drags, most characters barely register, and too many cutscenes feel like filler. But the combat and progression? Pure satisfaction. The fail‑learn-master loop is addictive, and exploration always rewards you. This one’s for players who live for deep gameplay over cinematic storytelling.

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Lots of shooting, silly one-liners and little brainwork: if that appeals to you, you might like John Carpenter's Toxic Commando. This co-op zombie game expands on the Left 4 Dead formula with vehicles and the satisfying mud physics from Snowrunner. The open levels invite you to explore, and the missions offer enough variety – even though they always end with a wave of zombies bigger than your pile of shame.

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Docked is a surprisingly relaxing work simulation, letting you master heavy machinery and bring order to a living, bustling harbor.

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Pokémon Pokopia reignited my fading love for the series. This cozy life sim shines with its unusual setting and mystery-filled world. Rebuilding abandoned ruins, attracting new Pokémon, and caring for them is deeply satisfying. Its surprisingly deep mechanics offer impressive freedom, whether I’m constructing homes, crafting items, or exploring alongside Pokémon companions. Packed with charm and attention to detail, it constantly evokes a sense of wonder and nostalgia. In short, Pokémon Pokopia is finally a truly great Pokémon game — and better than anything the mainline series has delivered in the past decade.

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Resident Evil Requiem delivers a bloody blend of classic survival horror and frantic action. I love creeping through dark corridors with Grace, solving puzzles and hiding from zombies, just as much as I enjoy Leon’s sections, where I can let loose and land satisfying headshots. Clever level design and strong mechanical contrasts create perfectly balanced pacing while giving both characters room to shine. Impressive visuals, responsive controls, and punchy sound design round out the experience — it’s just a shame the wild ride ends after roughly ten hours.

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Styx: Blades of Greed is a game of sharp contrasts. It boasts some of the most impressive vertical level design the stealth genre has seen in years. Clinging to the pillars of the “Wall” hundreds of meters above the abyss creates a thrilling sense of momentum reminiscent of the series’ best moments. New mobility tools and tactical crafting reward careful planning and experimentation. Yet this strong foundation is undermined by inconsistent AI and technical rough edges in the camera and controls, making failures feel unfair. Add a flatter narrative and a more subdued take on Styx’s humor, and what remains is a solid stealth adventure for purists — one that ultimately lacks the final polish needed to rule the genre.

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The Mermaid’s Curse doesn’t beg for attention. It remains quiet, focused, and at times unsettling. It trusts me to read, to think, to fail, and to try again. That trust makes it one of the strongest adventure games I’ve played in recent times. It’s bold, innovative, and channels the spirit of Square Enix’s golden era in the late 1990s.

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