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Pragmata has a strong atmosphere and satisfying gameplay, but it struggles with outdated design choices. The NASA-like sci-fi world is immersive, and the combat feels great with solid progression and fun hacking mechanics. It actually gets better the more you play. However, the story is very cliché and predictable, and Diana carrying most of it doesn’t always work. Mission design is the biggest issue, constantly repeating simple “unlock this, go there” objectives. It also feels longer than it should, especially toward the end. Overall, it plays like a polished PS2-era game with modern visuals. Not quite AAA, but a solid experience for around $40 with clear potential for a better sequel.

It is a slightly above-average game that sacrifices its potential to gameplay issues. The development team clearly fell in love with the visuals and atmosphere they created, but they left the actual gameplay aspect too far in the background. While I appreciate this artistic vision they have brought to the gaming world, there are many lessons to be learned in terms of pacing and playability. I am definitely looking forward to the next project the studio will develop by learning from this experience.

One of the most immersive medieval RPGs I’ve played. No fantasy, no shortcuts, just pure grounded realism. You start as a completely useless Henry and slowly grow into someone actually capable, which makes the whole journey feel earned and honestly pretty special. The world, story, and RPG systems are insanely deep. Quests feel natural, not just “go kill this,” and the atmosphere carries the game hard. It’s slow, but in a good way if you’re into that kind of role-playing. That said, yeah… it’s janky. Early combat is rough, UI can be annoying, and some mechanics (saving, lockpicking) test your patience. Even after patches, a bit of that awkwardness is still there. If you can push through the clunk, this game rewards your big time. Not for everyone, but for history/RPG fans, it’s kind of a must-play.

Just finished Resident Evil Requiem and yeah… this is the first real masterpiece of the year for me. It’s the version of Resident Evil I’ve been dreaming about for years: tight, satisfying gameplay mixed with a strong cinematic narrative. It stays true to the series’ roots while still feeling bold and mainstream ready. Absolute respect. The atmosphere is insane. The lighting and visuals are next level, and the sound design makes every step feel dangerous. I played in the recommended view for each character, and it was easily one of the scariest experiences in the series. The option to switch between first and third person is such a smart move too. Combat feels weighty and polished. Exploring the early areas is pure survival horror perfection, every corner feels intentional. The story is solid (not groundbreaking), but the character writing and performances really sell it. The second half loses a bit of pacing, and the bosses could’ve been more creative, but the highs are so high that it barely matters. Resident Evil Requiem is exactly what I wanted from the next Resident Evil. A must-play.

EFD is way more addictive than it looks. Early game is super fun; the extraction loop just works. If you’ve played Escape from Tarkov, the references are great. Downside? It gets VERY grindy in the second half. Lots of RNG and missions sending you to the same places again and again. Still, awesome experience overall. Just be ready for the grind.

The whole paranoid bunker-building under a totalitarian regime is such a strong hook. Early on, the vibe and story really pull you in. Managing your shelter while pretending to be a loyal citizen is genuinely cool. But the time system is brutal. A simple walk across the house eats half your day. Try crafting, exploring, and keeping the inspector happy and suddenly you’ve accomplished nothing. It quickly turns into a grind fest with questionable balance and some janky combat. Great idea but way too much grind for me.

Amazing concept, dull execution. Being blind and relying only on radio reports is immersive at first. The map UI is clean, base atmosphere is cool, and the Vietnam vibe is strong. But gameplay quickly turns into ask for position, confirm combat, fast-forward, repeat. Strategy feels shallow, just stack units and spam artillery/helicopters. Voice acting sounds stitched together, voice recognition didn’t work for me, and some bugs break immersion. Respect for the idea. The core gameplay just isn’t deep enough to carry it.

Finished REANIMAL and didn’t want it to end. This is Tarsier Studios at their best. Incredible atmosphere, stunning visuals, great soundtrack, and smooth 2-player couch co-op. Playing it in the dark with my wife was such a vibe. Sometimes puzzles and movement feel a bit restrictive, but it never ruined the flow. Pricey? Maybe. Worth it? Absolutely. If you liked Little Nightmares or Little Nightmares II, don’t skip this.

Dishonored: Death of the Outsider is a tight, satisfying send-off to the series. Not as iconic as some Dishonored 2 levels but still packed with smart design and fun problem-solving. The new contracts system adds nice side objectives, and Billie’s simplified powers are easy to experiment with, whether you go full stealth or full deranged psycho (I chose violence, obviously). The Void-focused story kept me hooked, and it runs way smoother than D2 did at launch. You can finish it fast, but taking your time is way more rewarding. Strong final chapter.

Dishonored 2 is stealth at its absolute peak. Incredible world-building, insane level design, total player freedom, meaningful choices, it’s all here. Clockwork Mansion and A Crack in the Slab are straight-up masterclasses. Every mission feels handcrafted with multiple paths and playstyles. Emily’s new powers are fresh, non-lethal options are deeper, AI actually makes you think, and the replay value is huge. Main story isn’t perfect, but the mission design and immersion carry it hard. If you love stealth games, this is mandatory.

Prey feels like BioShock and Dishonored had a brilliant sci-fi child on a space station. One of the best openings I’ve played. Talos I oozes atmosphere, the synth-heavy soundtrack builds constant tension, and the art direction proves you don’t need hyperrealism to look amazing. The Neuromod system gives real freedom about stealth, hacking, brute force, weird alien powers, and exploration is insanely rewarding. There’s always another path, another secret, another email hiding a side quest. Combat can feel rough early on, ammo gets tight late game, and some quests drag. Minor sound issues too. But the creativity, level design, and overall vibe carry it hard. Not a simple shooter but a proper immersive sim. Ambitious, stylish, memorable.

Below looks and sounds amazing. The atmosphere and soundtrack are easily the best parts. But the difficulty feels inflated in the wrong ways. The forced zoomed-out camera makes everything tiny and hard to read. The game explains almost nothing, and random traps + sudden deaths turn “hard but fair” into “hard and annoying.” Corpse runs and the awkward campfire fast travel system just add more frustration. There’s a cool idea here, and the polish is obvious, but the survival/roguelike elements overpower the exploration vibe. Great music. Interesting concept. Exhausting to play.

Below looks and sounds amazing. The atmosphere and soundtrack are easily the best parts. But the difficulty feels inflated in the wrong ways. The forced zoomed-out camera makes everything tiny and hard to read. The game explains almost nothing, and random traps + sudden deaths turn “hard but fair” into “hard and annoying.” Corpse runs and the awkward campfire fast travel system just add more frustration. There’s a cool idea here, and the polish is obvious, but the survival/roguelike elements overpower the exploration vibe. Great music. Interesting concept. Exhausting to play.

Wanted: Dead has style, anime cutscenes, weird B-movie charm… and painfully confused combat. It can’t decide if it wants to be a hack-and-slash or a shooter. Melee combos feel weak, guns feel worse, and enemies tank headshots like it’s nothing. The AI is rough, encounters get repetitive fast, and by chapter two I was already bored. Cutscenes look cool, but gameplay just isn’t satisfying. It feels rushed and unpolished despite the obvious effort. If you want stylish action that actually works, replay Metal Gear Rising: Revengeance instead.

Arctic Eggs is one of those weird little indie games that sneaks up on you and refuses to leave your brain. You’re frying illegal eggs in a bleak, surreal world using janky-but-intentional physics, and somehow it turns into a strangely meditative experience. The vibe, soundtrack, and writing are doing a lot of heavy lifting here, and they absolutely nail it. It’s not perfect, controls can feel awkward at first but once it clicks, it really clicks. Short, odd, memorable, and full of personality.

The Forgotten City is honestly something special. A clever time-loop mystery wrapped in mythology, philosophy, history, and the Golden Rule, all held together by beautiful art direction and some of the best writing I’ve seen in years. Piecing together the truth, talking to its memorable characters, and slowly understanding how the city works is deeply satisfying and often emotional. The gameplay itself is fairly simple and there are a few rough edges, but none of that really matters when the story, atmosphere, and ideas hit this hard. It’s one of those rare games that sticks with you long after the credits roll. A once-in-a-lifetime kind of experience.

PowerWash Simulator 2 doesn’t try to reinvent anything, it just gives you more of the same, and honestly that works. The jobs are bigger, there are some welcome QoL tweaks, plus new tools and washers that keep things fresh enough. On the downside, performance is surprisingly shaky for a game where nothing moves, ladders feel awkward to use. There’s still very little actual evolution here, but as a chill, turn-your-brain-off game to play while watching videos or chatting with friends, it absolutely does the job again.

A fun but very flawed hack-and-slash that lives and dies by its combat. When it clicks, parries and Blade Mode feel great and some boss fights are genuinely memorable, but most of the game can be beaten by spamming the same basic combos from start to finish. New weapons are mostly useless, the camera is unreliable, and the lack of a proper dodge or defense button makes fights more annoying than challenging. The story is serviceable but predictable, characters are largely forgettable until late-game Raiden, and the environments lack personality, making it feel more like a Metal Gear-themed action game than a true Metal Gear experience. Still, the soundtrack, over-the-top moments, and sheer style make it an enjoyable ride that ends just as it’s wearing thin. Worth playing once.

Pure, unfiltered adrenaline. The 80s anime aesthetic, neon-soaked visuals, and pounding synthwave soundtrack come together into a game that feels like a playable fever dream. The core loop is ridiculously fun. Fast, aggressive, and built around mastering flow. A stylish, high-energy blast that knows exactly what it wants to be.

A fun, old-school arcade cop game. The visuals and atmosphere are great, and the moment-to-moment police work (patrols, tickets, chases, investigations) is genuinely enjoyable at first. Sadly, it doesn’t last. The gameplay gets repetitive, driving feels awkward, and the story is short, cliché, and forgettable. By the time you’re fully into the idea, the game is already over. Still a solid, bite-sized experience, just a bit too shallow and short to be truly memorable.

Has a genuinely cool concept, clearly inspired by Papers Please and Contraband Police, and when it works, diagnosing survivors and managing the checkpoint can be pretty engaging. Base upgrades, tools, and moral choices give it a solid gameplay loop, but the experience is dragged down hard by bugs, unclear UI, and systems that feel half-finished for a “full release.” Fun and promising at its core, but it often feels like you’re beta testing it instead of playing it. Worth a look after some serious patches.

Looks sharp and the goofy LEGO humor mostly lands, but the actual game feels shockingly shallow. Levels are painfully repetitive, characters barely change how you play, and there’s almost nothing meaningful to unlock or explore. Base customization is hollow, combat is basic, and the whole thing plays less like a LEGO game and more like an interactive storybook that forgot to be fun. A big miss for a series that usually understands playful design.

Ninja Gaiden 4 is a full-on victory lap for hardcore action games. Team Ninja teaming up with Platinum Games is exactly as dangerous as it sounds: absurdly fast, brutally punishing combat that looks slick as hell and feels even better once it clicks, button mashing will absolutely get you killed. The new protagonist and systems modernize the formula without losing the series’ soul, and while the visuals and level design aren’t always top-tier, the moment-to-moment combat is some of the best in the genre right now. In a sea of Souls likes, this one stand tall and reminds everyone what pure action is supposed to feel like.

CloverPit is a heavily RNG-driven roguelike that borrows shamelessly from Balatro, but replaces strategy with frustrating luck swings and instant run-ending mechanics. The charm synergies can be briefly satisfying, yet most runs die fast while the survivors snowball into dull god mode. It’s not scary, not deep, and ultimately feels like a watered-down imitation rather than a standout game.

Genuinely loved it. Set on the Moon in 1999, this sci-fi horror experience excels at delivering a slow-burn, claustrophobic tension through its grounded realism and oppressive atmosphere. Cold, sterile environments, menacing silences, and enemies you never fully understand keep you on edge from start to finish. While the puzzles in the second half can occasionally test your patience, they end up feeding the tension rather than hurting the pacing. Routine clearly isn’t chasing action, it’s made for players who crave atmosphere, uncertainty, and sustained dread. If an Alien–meets–The Thing vibe, paired with a metaphorical and cryptic narrative that constantly sparks curiosity, sounds appealing, this game absolutely deserves a chance. Note: Playing with headphones is highly recommended. The sound design significantly amplifies the overall experience.

Nails the old-school FPS feel. Fast movement, satisfying gunplay, chunky pixel gore, and a great metal soundtrack. The RPG elements add a nice modern touch and keep the early game engaging. That said, where is the story? It’s basically nonexistent, and the game becomes repetitive over time. Levels and enemies blur together, and compared to retro FPS standouts like Ion Fury or Forgive Me Father, it feels more like a polished Wolfenstein-style mod than a true evolution. Still fun, still charming but just not memorable.

I booted up BALL x PIT expecting a quick, chill rogue lite session. Instead, it ate my evening and asked for seconds. At its core, it’s a brick-breaker rogue lite, but that description undersells how good it feels. The ball physics are ridiculously satisfying, the feedback is crisp, and every run quickly turns into a mesmerizing cascade of chaos. You’re not just clearing stages—you’re pinballing through them, grabbing resources, unlocking upgrades, and slowly turning the town into a proper hub that actually matters.What really sells it is variety. There are tons of characters, and they genuinely play differently. Combine that with the huge pool of balls and upgrades, and runs almost never feel the same. Some builds melt everything instantly, others feel like barely controlled disasters—but in the best way. The early game can be a bit rough and repetitive, but once it clicks, it really clicks. It also nails the vibe. Chill enough for an evening break, addictive enough to keep you up way too late. Clean visuals, smart design, and that perfect “just one more run” loop. If you tried it on Game Pass, chances are you’re already hooked. At its price, it’s honestly a no-brainer.Simple idea, executed absurdly well. This one hits the sweet spot.

It is a story-first AA adventure with great writing trapped inside a pretty but lifeless world. The emotional narrative and the dual-character mechanic shine, but the combat is simple, repetitive, and never really evolves. Exploration feels padded, backtracking is a slog, and the world is strangely empty for how big it is. Once the pacing picks up, the plot carries things well, though the ending options can feel disappointing. Solid vibes, strong story, weak gameplay loop. Worth playing on a discount.

I experience enjoyable combat, surprisingly decent graphics despite a lower budget, which is fine because graphics do not define a good game—a point overlooked by many critics today. There's abundant customization, gun upgrades, fan service weaponry, engaging crafting, exploration, and small RPG dialogues allowing interaction with characters in many ways. This game feels like a blend of Metro and the Terminator universe, delivering a fantastic experience. The voice acting is commendable, and the open map design offers multiple ways to handle enemies effectively without feeling generic.

Putting my brief history with Fusion aside, Dread was my true entry point into the series. Once I finished it, I clearly understood why it’s praised so much. It’s a masterpiece in every sense. It’s a phenomenal sequel worthy of the franchise that shaped the entire genre. An absolute must-play.

Shadow of Rose has a few cool moments, but it never feels important or fresh. Most areas are reused, the story adds almost nothing, and the shift toward magic powers doesn’t fit Resident Evil’s tone. The gameplay is linear, the writing is weak, and some sections are more frustrating than fun. Rose’s freeze ability is the highlight, but the rest feels like a leftover side chapter. Overall, short and mostly forgettable.

Village looks great, plays smoothly, and offers a bigger world with more enemies and weapons, but it loses the grounded, intense horror that made RE7 memorable. The early hours build tension well, yet the game eventually slips into a repetitive loop of “new area → boss → repeat” with dull puzzles and tiring resource management. It still has standout moments, strong characters, and excellent technical quality, but the tone is uneven and leans more into RE4-style chaos than RE7’s focused horror. A stylish, fun sequel but just not as cohesive or impactful as RE7, which remains the stronger game for me.

Resident Evil 7 is the course correction the series desperately needed. Instead of the bombastic action of the later games, this one drags you back into tight hallways, locked doors, scarce ammo, and the constant feeling that something awful is breathing just out of sight. The Baker house is a disgusting, beautifully crafted nightmare, and Jack is one of the best stalker enemies the series has ever had—equal parts terrifying and darkly funny. Exploration, puzzles, item management, interconnected rooms… it all feels like classic RE, just rebuilt with a modern engine and a first-person perspective that makes every creak in the floor hit harder. Combat walks the line between empowering and panic-inducing; you think you have enough ammo until you definitely don’t. A few rough edges exist—some weird character models, moments where the lighting is too dark for its own good, occasional flat textures—but none of it stops the game from being incredibly immersive and atmospheric. This is survival horror reborn, and one of the best turns the franchise has made in years.

I think this is an awesome game, but I’d only recommend it to people who are already fans and have been following the Metal Gear story. The plot delivers a perfect conclusion to Solid Snake’s final mission, tying up a lot of unanswered questions while keeping the suspense high. Gameplay is great too — everything feels improved, and there’s a ton of variety with all the equipment and weapon customization options.

I’m usually hesitant to give anything a perfect score, but this one deserves it. It might not be for everyone, but for those it resonates with especially the big, weird book lovers. It’s as close to perfection as games get. It offers a one-of-a-kind experience that you’re unlikely to find anywhere else, and maybe never again, thanks to some eerily fitting Eastern European corporate drama that echoes the game's own story. Try it. It’ll either pull you in completely or leave you cold but either way, it’s unforgettable.

I’m usually hesitant to give anything a perfect score, but this one deserves it. It might not be for everyone, but for those it resonates with especially the big, weird book lovers. It’s as close to perfection as games get. It offers a one-of-a-kind experience that you’re unlikely to find anywhere else, and maybe never again, thanks to some eerily fitting Eastern European corporate drama that echoes the game's own story. Try it. It’ll either pull you in completely or leave you cold but either way, it’s unforgettable.

Finished Cronos in about 12 hours, and it left me with mixed feelings. The slow start gives way to an immersive atmosphere that carries the game strongly until the epilogue, though the ending itself feels unsatisfying. While the visual design of the last two chapters shines, much of the story is relegated to notes and audio logs, making it hard to feel truly impactful. The game is limited to puzzle variety (only two), enemy types (six total), and weapon progression that locks you into just two guns, with essences adding little aside from one useful melee buff. Combat is satisfying and ammo scarcity keeps tension high, but enemies fall to the same repetitive tactic, and boss fights blur together with only one standout. Strong sound design helps, though the soundtrack is forgettable. In the end, Cronos blends Dead Space–style character growth with Resident Evil–like gameplay to deliver a decent survival horror experience with solid moment-to-moment play, but it’s far from a classic. Worth trying for fans of the genre but keep expectations in check.

Expedition 33 is a visually striking and mechanically solid game with a standout combat system that combines turn-based strategy with real-time input, offering a satisfying challenge—especially early on. However, by the later stages, battles become repetitive and lack variety.Despite its strong gameplay, the game falls short in narrative and world design. The story fails to build emotional weight, character development is shallow, and the ending feels cliché. The world is large but underutilized, with repetitive areas and ineffective platforming **** mechanics appear deep at first but are limited and overly complicated without adding meaningful strategy. While Expedition 33 is impressive in many ways—especially considering the small team behind it—it doesn't quite reach "Game of the Year" status. Still, it shows great promise for what this team could deliver next.

Silent Hill f completely drew me in from start to finish. The 1960s Japan setting feels fresh yet perfectly fits the Silent Hill spirit. Exploring Ebisugaoka was both beautiful and terrifying — some locations (like the scarecrow fields and the school) honestly stuck with me long after I put the controller **** atmosphere is unmatched. Sound design and Akira Yamaoka’s soundtrack create constant tension, and I found myself holding my breath more than once. The story, written by Ryukishi07, is cryptic and layered — I thought I understood it, then the ending flipped everything, making New Game+ feel almost essential.Gameplay is mostly exploration, puzzles, and melee combat. It’s not action-heavy, but when fights happen, they feel tense and satisfying. The puzzles really reminded me of classic Silent Hill — clever, challenging, but never unfair.I finished my first run in just under 9 hours and immediately started again. That says a lot. Silent Hill f isn’t just a good horror game — it’s one of the best I’ve played in years.

Tried to get into it but it never really clicked. The setting and light simulation bits are neat, but the world itself feels empty and uninteresting. Realized pretty fast that the game’s short runtime was stretched with multiple endings, so I stopped after the first and achieved the rest using others' saves. Glad I played it on Game Pass, but the Fallout 3 comparisons do it no favors.

Great game—easily better than the last two entries. The dragon and mech stages felt more like gimmicks than real additions, but the core Doom action struck a perfect balance: intense without being overwhelming. I also loved the custom difficulty options, letting players shape the game to their own style—something more developers should do. Overall, a polished, well-made experience, and it’s rare to see that these days. Huge credit to the team behind it.

The core idea of the game is good, and the way it presents the inventory feels genuinely fresh. Blending two different gameplay genres is an inspired choice. However, this mix also highlights some weaknesses — the core mechanics are overly simple, and both combat and shop management quickly turn repetitive, offering little satisfaction as the game progresses.

Incredible from start to finish. Smart puzzles, constant dread, and striking visuals make it a real standout in horror. Classic Resident Evil fans will especially appreciate it. The dark, tense atmosphere mixed with the ridiculous dialogue gives it a weirdly perfect balance.

Keeper feels like a mix between an art exhibition and a story experiment rather than a full-fledged game. Visually, it’s stunning—there’s a haunting beauty to its world and a quiet charm in the lighthouse setting—but it often feels more like you’re observing than playing. The pacing is uneven, with a slow and somewhat confusing first half that only really comes together near the end. Still, it’s a short and unique experience, and Double Fine’s quirky touch keeps it from being a total miss.

Assassin’s Creed Shadows isn’t a bad game — in fact, it does a lot of things right — but it never quite reaches greatness either. The Japanese setting is long overdue, and while it’s visually stunning, it’s hard not to compare it to Ghost of Tsushima, which simply did it better. Stealth finally works well (especially after tweaking the settings), and the dual-protagonist setup with Yasuke and Naoe starts off strong, offering a promising mix of brute strength and agility. The opening act, with both characters’ paths intertwining around Nobunaga, delivers some great cinematic moments and sets expectations high. Unfortunately, everything after that slowly unravels.Combat is repetitive and rarely satisfying — too much dodging and button mashing against enemies that feel like damage sponges. Noae’s stealth can be fun, but she’s spotted far too easily and collapses the moment things go loud. Yasuke’s power is enjoyable, but his sluggish movement quickly becomes frustrating. Traversal is another sore spot: constantly slipping down terrain that looks climbable and fighting through endless foliage makes exploration a chore, and the world, while gorgeous, feels empty and **** story has flashes of brilliance but most of the game drags under slow pacing, dull dialogue, and characters that never quite come alive. There’s little to no real connection to the Assassins or Templars, making it feel like an Assassin’s Creed game in name only. Instead, we’re left chasing ten uninspired targets across a vast but shallow map, grinding XP through unbalanced systems that reward busywork more than skill or progression. Even the collectible and recruitment systems feel arbitrary, padding the game rather than enriching it.Still, credit where it’s due — the visuals are breathtaking, the music and atmosphere capture feudal Japan beautifully, and when everything clicks, Shadows can remind you why you fell in love with this series in the first place. But those moments are rare, buried under grind, imbalance, and repetition. With some trimming and polish, this could have been something special.

This isn’t Battlefield. It’s a class-based Call of Duty wannabe that forgot what made Battlefield special. Classes exist, but nobody uses their abilities. The pacing is way too fast, vehicles feel useless, and the maps are a complete disaster. Gunplay? Sure, it’s fun. But CoD already does this style better — why would I play a worse version of the same thing? Even Delta Force’s remake feels more like Battlefield than this does. Reviewers giving this positives must’ve never played a real Battlefield game. The lack of large-scale maps in beta suddenly makes sense: there aren’t any. I regret every cent I spent on EA Play Pro. What a disappointment.

The atmosphere is absolutely perfect — eerie, lonely, and beautifully unsettling. The art style and music do a fantastic job of building tension without relying on cheap jump scares. Every knock on the door fills you with paranoia — do you trust them, or risk starving alone? But as much as it nails the mood, it falls short as a game. It feels more like an interactive book or art project than something meant to be played. There’s no real satisfying gameplay loop, and replaying just to unlock more endings feels more like a chore than an incentive. It’s haunting and creative, but not much fun to actually play.

I actually really like the core of this game — it’s a fun, satisfying management sim that really scratches that optimization itch. But it honestly feels abandoned. There are still bugs, missing polish, and parts of the game that just don’t make sense. If it ever got proper updates and fixes, it could be amazing. As it is now, it’s good… just not as polished as it should be.

Silent Hill f completely drew me in from start to finish. The 1960s Japan setting feels fresh yet perfectly fits the Silent Hill spirit. Exploring Ebisugaoka was both beautiful and terrifying — some locations (like the scarecrow fields and the school) honestly stuck with me long after I put the controller down. The atmosphere is unmatched. Sound design and Akira Yamaoka’s soundtrack create constant tension, and I found myself holding my breath more than once. The story, written by Ryukishi07, is cryptic and layered — I thought I understood it, then the ending flipped everything, making New Game+ feel almost essential.Gameplay is mostly exploration, puzzles, and melee combat. It’s not action-heavy, but when fights happen, they feel tense and satisfying. The puzzles really reminded me of classic Silent Hill — clever, challenging, but never unfair.I finished my first run in just under 9 hours and immediately started again. That says a lot. Silent Hill f isn’t just a good horror game — it’s one of the best I’ve played in years.

Expedition 33 is a visually striking and mechanically solid game with a standout combat system that combines turn-based strategy with real-time input, offering a satisfying challenge—especially early on. However, by the later stages, battles become repetitive and lack variety.Despite its strong gameplay, the game falls short in narrative and world design. The story fails to build emotional weight, character development is shallow, and the ending feels cliché. The world is large but underutilized, with repetitive areas and ineffective platforming **** mechanics appear deep at first but are limited and overly complicated without adding meaningful strategy. While Expedition 33 is impressive in many ways—especially considering the small team behind it—it doesn't quite reach "Game of the Year" status. Still, it shows great promise for what this team could deliver next.