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Invincible VS proves to be as ruthless and fascinating as the comic/animated series it’s based on, drawing inspiration from the bloody history of Omni-Man and the consequences of his arrival. Accessible for newcomers, it’s packed with deep mechanics. The content, however, doesn’t quite make up for Quarter Up’s success, and it actually lacks a truly awful story mode.

Demon Lord: Just a Block is a surprising tactical roguelite created by solo developer YuWave. Its main strength is its original movement system: the world advances only in response to our moves, creating a deep and hypnotic gameplay loop. Despite an impressive amount of content (weapons, skills, interactive biomes, and bosses inspired by classic games) and flawless technical fluidity, the title suffers from inconsistent balancing and a completely forgettable audio and visual presentation. Overall, aesthetic limitations aside, it is a true indie “little miracle” that proves how a brilliant game idea is worth more than many other works in the medium.

MotoGP 26 improves on the series' content formula by focusing on where it matters most: the track. The new Rider-Based Handling delivers extreme realism, enhanced by fantastic sound and perfectly recreated bikes. Career mode adds depth with contracts, press conferences, and fun Race Off challenges. However, some minor issues remain: dated faces, repetitive podiums, and stale commentary occasionally break the immersion. It's a must-buy for true MotoGP fans.

Drop Duchy is an old-school game that does what a video game should do: entertain. The title created by Sleepy Mill Studio updates and reinvents Tetris mechanics, adding the typical elements of Deckbuilding and Roguelite.

Double Fine reinvented the multiplayer party brawler genre, giving players complete creative freedom. The ability to create your own character is both ingenious and functional. This customization affects not only the aesthetics of the characters but also their stats. Unfortunately, the content is lacking, resulting in a rather marked sense of repetitiveness.

Vampire Crawlers is proof of Poncle’s talent: a game that knows exactly what it wants to be and doesn’t waste energy trying to force originality at all costs. It takes familiar formulas, tastefully reworks them, inserts them into a coherent universe, and builds a magnetic, rich experience that’s incredibly quick to assimilate but hard to put down. And it’s precisely in this ability to suck the player into its vortex of progression, combos, and instant satisfaction that Vampire Crawlers finds its greatness.

Diablo IV: Lord of Hatred offers the best campaign of the Age of Hatred. The story is packed with twists and turns and charismatic characters, and Lilith is finally given the screen time and character development she deserved. The two new classes, the classic Paladin and the brand-new Warlock, are notable additions, although there will be some balancing issues to iron out. The map expands further, and the Skovos archipelago offers us a brand-new Hellenic landscape. The Horadric Cube also returns, and the Warplanes finally allow us to avoid getting lost amongst the myriad endgame activities. Lord of Hatred is a truly successful expansion, but one that highlights once again how Diablo IV’s flaws stem directly from its base version. Blizzard has listened to the community, and what it is implementing is a genuine process of rebuilding its iconic hack “n” slash game.

Saros confirms Housemarque's growth, building a spiritual sequel to Returnal that's more accessible, refined, and confident. While it partially forgoes the surprise element of its predecessor, the title stands out for its extremely solid combat system, a good evolution of the formula, and top-notch technical performance. Some concerns remain about its longevity, as once the campaign is completed, additional activities are almost nonexistent, leaving us with the regret of having to abandon too soon an experience that, given the quality of its gameplay and solidity of its structure, would have deserved to keep us entertained on Carcosa for a long time.

Jay and Silent Bob: Chronic Blunt Punch is a game of strong contrasts. On one hand, it shines with its excellent hand-drawn 2D art direction and an irreverent humor that perfectly captures the soul of Kevin Smith’s View Askewniverse, bringing great joy to longtime fans. On the other hand, unfortunately, it falls apart heavily right on the gameplay front: clunky controls, input lag, imprecise hitboxes, and repetitive level design turn the 3-to-4-hour campaign into a frustrating experience. The total lack of checkpoints and the need to resort to tedious tactical exploits to survive make it unable to compete with the true heavyweights of the beat ‘em up genre. Despite the affordable price, it is a purchase recommended exclusively to the most die-hard fans of the dynamic duo.

Mouse: PI for Hire doesn’t revolutionize anything, but it doesn’t even try. It doesn’t aim to stand out for its substance, but rather for its distinctive look. It succeeds very well: the artistic and visual style is distinctive and captivating, transforming the game into a nostalgic cartoon that we’re drawn into. It’s not a great result, partly due to a somewhat dated gameplay structure, but in our opinion it deserves recognition for Fumi Games’ courage in at least attempting to maintain artistic identity, with a fine result.