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Hey all, hope you’re doing well! Welcome to our first weekly news roundup. The goal of the roundup is to highlight the news stories and announcements that are of the most interest to us in the gaming space. This is something we’ve been considering for a while, so let’s see how it goes! This week has been pretty slow in-terms of big news items, but a few updates and announcements have caught our eye. Resident Evil Requiem Showcase The Resident Evil Requiem   showcase  that took place this week revealed a ton of new info regarding gameplay mechanics and structure. The two characters have pretty distinct playstyles, with the Leon campaign more focused on action and Grace’s campaign being a more traditional survival horror experience.  Frosthaven Update — Legacy of the Algox Frosthaven  came out in early access last year (still remains in early access, actually), but still managed to end up as one of my favorite gaming experiences from 2025. It continues to get more updates in terms of story content and playable classes, so I’m always on the lookout for new information. That said, Frosthaven ’s second major Early Access content update, Legacy of the Algox, comes out Jan. 22 and adds New Playable Heroes, pets, biomes, bosses, and more. Looks to be a great addition to an already great early access title. The new environs look really cool. Super Battle Golf Oro Interactive has announced  Super Battle Golf, a 1-8 player golf game where you do whatever it takes to reach the hole first in a free-for-all take on golf. Super Battle Golf is coming out on Steam February 19th, and looks like a really fun game to play along with friends in a group if you just want to mess with one another. Monster Hunter Wilds Performance Woes An explosive claim  has been made towards Capcom in regards to  Monster Hunter Wilds ’ continued performance woes. First brought to light  by a redditor going by the handle de_Tylmarande, it appears as if Capcom has implemented frequent checks for DLC into the code of the game, dragging down the game’s performance. After independent testing by Digital Foundry , the claim seems to be accurate, with DF’s own findings reflecting that of the reddit post. Given the nature of the issue and just how widespread criticism of Wild ’s performance has been, I would not be surprised to see some sort of internal retribution for this colossal oversight. Meta Shuts Down Twisted Pixel, Armature, and Sanzaru Games Meta, the parent company of Facebook, has reportedly cut an estimated 10% of employees in its Reality Labs division. Formerly known as Oculus VR, the Reality Labs division makes products like the Meta Quest VR headsets and AI-powered glasses. Armature Studio, Twisted Pixel, and Sanzaru Games are reportedly among those affected. This seems to be signaling that Meta is finally cutting its losses after having lost billions over the last several years. You can read a full report on the subject by Bloomberg here . RTX 5070 Ti Destined for Oblivion? While it was   initially reported  by Hardware Unboxed that the RTX 5060 TI (16 GB) and 5070 TI graphics cards may be discontinued, ASUS has since put out a statemen t claiming otherwise. Despite the clarification, rapidly increasing RAM prices and demand continue to put the consumer side of the market in dire straits. Games Workshop Prohibits Staff From Using AI in Its Content or Designs As reported by Financial Times , Games Workshop (perhaps best known for its popular Warhammer series) has indicated that the use of AI is strictly prohibited for in-house development. CEO Kevin Rountree has stated “We will be maintaining a strong commitment to protect our intellectual property and respect our human creators.” This roundup is already over! Thanks for joining us and see you next week!

Originally released in 2018, Yokohama Duel was itself a revamped 2-player version of the game Yokohama . The premise of each game is exactly the same: set at the beginning of the Meiji era, players take on the role of merchants battling for control of resources and technologies in order to dominate the market. This latest edition retains that same exact premise, but does come with its own notable changes, such as new artwork, revised rules, and an alternative board design for a smoother gameplay experience. Product:  Yokohama Duel Designer: Hisashi Hayashi Publisher:   Synapses Games , Luma Imports Price: $29.99 Age:  12+ Yokohama Duel is a competitive game, just as the name implies. There are no ways or means to cooperate with the other player, so no need to take it easy on your opponent. The aim is to manage your resources and plan your card placement for most effective returns. Although there is no direct action you take against opponents, you’ll need to be ruthless in your consolidation of resources if you want to win. While the basic flow of the game is quite simple, the large amount of options and actions you can perform does offer room for strategy, though this again comes down to where you place your cards. A single game consists of four rounds, with players taking alternating turns in each round. With 11 different ways to earn victory points, players will need to plan carefully to reach the end of the game with the highest number of points in order to claim victory. For players already familiar with the original release, the updated edition’s changes are a marked improvement. The updated artwork has an almost watercolor look to it that really pops, and the revised board layout is much less visually busy. All of the iconography on the board is clear, and the tokens are sufficiently distinct from one another, so you can understand what you’re looking at from a simple glance. It just has a more streamlined feel when compared to its 2018 counterpart. Players start with 4 power cards (numbered 1-4) and resources. On their turn, players place the card with the lowest power in hand onto a location, with the rewards of that placement determined by the card’s power and associated spoils indicated on the board. You also have the option of using an extra power card to make the move stronger. If a played card has 4 or more power, the player has the option to use coins to build a shop or trading house, which grants victory points at the end of the game. The artwork is beautiful, though the board and tokens are pretty standard cardboard stock. Some notable actions you can take to gain points include: praying at the temple for points, using resources to complete contracts, or building structures. Buying cards can provide ongoing bonuses or may award points at the conclusion of the four rounds, but investing too heavily may leave you weaker in other areas, unable to accrue enough points for a win.  A major strength of Yokohama Duel  is the variability in turn-by-turn strategy available to the player. While having some moves planned out ahead of time is certainly useful, you’ll often find your plans foiled by your opponent’s placement of their cards, forcing you to adjust on-the-fly. Given the relatively tight amount of moves each player gets during the course of the game, finding that equilibrium between the various options is crucial for success. Of course, this demands efficient use of your resources to achieve. Amassing resources comes naturally, but it is up to you to ensure they are spent appropriately through building and contract completion. Any resource left unused at the end of the game is a missed opportunity for points. Overall, I think Yokohama Duel  offers a strong, strategic 2-player experience, presenting large amounts of variability in game-by-game strategies and outcomes. The game is not the most elaborate in its genre, but it does come in at only an estimated 45 minutes per game. I do think that estimate is very far into the high-end of expected playtime once you have a few games under your belt, seeing as your planning and placement will drastically improve the more familiar you become with the game. Rules are easy enough for beginners to get the hang of quickly, and the variety of scoring methods means there is always room for experimentation and improvisation. Fully recommended from me. Disclaimer: We received a free copy of this game from the publisher.

My Yakuza journey started back in 2019 when I got my hands on Yakuza 0 , a prequel to the original Yakuza  game. By then, I was already disastrously late to the party, with many of my friends having played the games leading up to 0 and loving them. After hearing praise in person and online for years, I finally gave it a shot and was immediately hooked by it. Something about the balance of humor and drama was so captivating, and the breadth of content was a breath of fresh air, allowing me to take time away from the melodrama to play darts or run a cabaret club.  Publisher:   SEGA Developer:   Ryu Ga Gotoku Studio Platform:  Played on PC Availability: Released on January 21, 2016 for PS3 and PS4, Feb 19, 2019 for PC. It is also available on Nintendo Switch, Switch 2, XBOX One, XBOX Series X/S, Amazon Luna, and PS5. It may seem confusing at first to hear me lead off with Yakuza 0  in a Yakuza Kiwami  review, but Kiwami  is almost as much of an extension of Yakuza 0  as it is a remake of the original Yakuza title. It is far more than a simple visual makeover of the 2005 original; instead, it is a total redesign built directly on the success and technical foundations of its prequel. The characters, gameplay mechanics, and even story elements directly incorporate events and mechanics that were first brought to life in Yakuza 0 . So, while the main plot follows the original title’s story quite faithfully, RGG Studios has done a commendable job of incorporating the changes from the prequel into the revised timeline. Of course, not everything stays the same. Kiryu’s aging and growth between the two titles and the shifting culture of the city of Kamurocho chief among them. Seeing Kiryu as a more seasoned character in the wake of the 80s and beyond his time in prison adds layers to his stoicism, and his return to a city that has in many ways passed him by makes him feel like a man out of time. Kiryu still lives by the “old ways” when it comes to his personal honor system and beliefs, and changes to the landscape leave him on uneven ground, though he is not without help. Kamurocho itself still feels like a living, breathing entity that has aged alongside him, retaining its iconic layout but reflecting the shift in time and tone. New stores have replaced his old haunts, the city is noticeably less bright, the disco floor is no more, and some buildings have begun to show their wear and tear. Despite these changes, Kamurocho still feels like home, and the echoes of the bygone days remain. Characters from Yakuza 0 substories linger, just as excited (or scared) to see Kiryu all these years later. The streets of Kamurocho are just as colorful as they are violent. In some ways, the contrast of then and now is similarly represented in the main story as compared to the substories set throughout Kiwami . The main plot is deathly serious and melodramatic, adhering to the original title's tone and pacing throughout. By contrast, the substories are often full of humor or more eccentric characters, though they are not free from dramatic elements either. In fact, some of Kiwami’s  best writing is held within these stories — dramatic or otherwise. One of my favorites is one that sees you reunite with your friend who runs the pocket racing circuit. He’s a character that was first introduced in Yakuza 0 , so seeing him and how he has aged is a painful reminder of the time that Kiryu missed, and how much things have changed in his absence. Throughout this substory you get the chance to help the Pocket Circuit Fighter find a new successor to take over the racing circuit, and reconnect with some other old acquaintances in the process. For as much as some things change, much in our lives endures through the ages. That said, the game feels a bit out of balance in terms of its content spread. The main story is noticeably shorter than most other Yakuza titles, and while the substories aren’t overwhelming in number, they do feel disproportionally significant. Yakuza Kiwami has a total of 78 substories, with the final one only unlocking after playing all other substories and maxing out the Majima Everywhere rank. That isn’t to say that there are too many substories; they mostly all feel worthwhile and fun to engage with. It is simply a matter of the main story taking a comparatively smaller portion of the game’s focus. The main story is noticeably shorter than most other Yakuza titles, and while the substories aren’t overwhelming in number, they do feel disproportionally significant. The experience is not without its mechanical friction, either. Combat can be fun in short spurts, but it ultimately lacks the depth required to stay enjoyable for as often as the game forces you to engage with it. It can feel like a bit of a grind when navigating the streets, though the Heat actions remain a consistent exception. These cinematic moments are always a joy, providing a necessary burst of energy and visual flair that helps offset the repetitive nature of the standard brawls.  These issues with combat frequency are unfortunately exacerbated by the Majima Everywhere system. While Goro Majima’s various disguises and surprise attacks are genuinely funny at first, the novelty wears off when you are forced into frequent encounters — sometimes without a way to avoid them. By the late game, Majima becomes an exhausting opponent with massive health pools, turning the brawls into a repetitive chore where the most efficient strategy is simply to spam (insofar as you can spam a counter attack) the Tiger Drop move until the fight ends. Despite these minor quibbles, nearly every aspect of Yakuza Kiwami  remains a colossal step up when compared to the original 2005 release. New movesets, more varied minigames and side quests, alongside the massively improved graphical fidelity make Kiwami  the much preferred way to play through the classic story. It is a safe retelling that helps lay the groundwork for future titles, and that’s plenty. Verdict Ultimately, Yakuza Kiwami  does feel like a bit of a step down from the high bar set by Yakuza 0 , in part because it must adhere to the plot and pacing of the original scenario. Despite this, it remains an engaging, moving, and hilarious experience that successfully honors the beginning of Kiryu's legend. Even if it doesn't quite reach the heights of the masterpiece that preceded it, Yakuza Kiwami  remains an excellent adventure. Image Credits: SEGA

"Whenfield" No More Back in 2022, Hypergryph first teased the follow-up to their successful tower defense game Arknights . The wait has been a long one, but the kitchen sure is cooking up a succulent meal with Arknights Endfield . It should be noted that the experiences described here are based on the second closed beta test which ran from November 29 th  to December 29 th  2025 ahead of its official release on January 22 nd  of 2026, and as such, all materials discussed are subject to change. Endfield  is an anime styled 3D action RPG with base-building and management elements set in the sci-fi-magic universe of Arknights. Sounds like a strange combination but in practice it turns out to be a perfect pace breaker to keep the game engaging for hours on end. Let’s dive in with three “Gs” to discuss: Graphics, Gameplay, and Gacha. Publisher:   GRYPHLINE Developer:   Hypergryph Platform:  Played on PC Availability: Release date — January 22, 2026 for PC, PS5, and mobile devices. Graphics P-R-E-S-E-N-T-A-T-I-O-N is the name of the game and Endfield has it in spades. While the UI could use some small tweaks in some places, the game is a joy to navigate, look at, and listen to. Playing the PC version on maximum settings, I can say that Arknights Endfield  runs beautifully well — not a stutter in all of my 60+ hours participating in the Beta Test. I’m still using a previous gen AMD card, so this can be done without needing current high-end hardware. While optimization and fidelity are important to note, it’s all of the little details that caught my attention. Character idle animations, water effects on their clothing, walking animations, menu transitions — each is a pleasure to behold. The developers have heavily modified the Unity engine to achieve this look and performance, and praise should be given where it’s due, as Endfield  has more polished performance in its Beta Test than most games on release in the past few years. Putting those great visuals to use, most of Arknights Endfield ’s story is told through cutscenes. The Beta Test rounded off in the earlier steps of chapter 2, but has continually impressed throughout. A bit early to judge in totality, but there certainly were moments that tugged on my heart strings and had me on the edge of my seat. As far as it compares to its competition in the space, Endfield ’s got hands. Here’s hoping they deliver the proper knock-out on release. Endfield has a number of styles for the cutscenes: a big portion is rendered in-game, some are pre-rendered more action packed to highlight bigger story moments, and then there’s a more simplistic mission briefing style where characters discuss a plan of action over some tactical graphics. The characters animate with little micro-expressions and the stellar voice acting helps immerse you into the world. Much like the first game, the English dub in particular deserves praise. Characters often have accents, reflecting the region they are from that brings them to life more. Some even substitute their native language in conversation and battle. Technically Endfield  is a sequel to Arknights  but its story takes place roughly 150 years later.  Endfield  takes its time easing you into the world and some of the more complicated aspects but playing the first game is not a necessity. You will miss out on certain details and returning characters’ backstory, but surely there’s a lore summary to catch you up somewhere. Not to mention there’s also an anime to get you to grips with its world. Arknights Endfield is beautiful, with vibrant colors and unique designs throughout the experience. Gameplay As the meat in our meal, the gameplay makes up perhaps the most fulfilling aspect of Endfield.  For the bulk of your time in Endfield  you will be exploring a 3D world with a team of 4 characters in what is a semi-open world sandbox structure. This team you construct can target various elements, be physical status crowd control focused, or even do a mix of both. Team building is very fluid in Endfield  as the synergy between characters relies on their Combo and Battle skills more than their personal elemental affinity. You control one character in battle and spend SP to use Battle skills while the rest of your team fights alongside you. During the fights, you can trigger your team’s skills as well.  Where it gets interesting is the Combo skill, which each character has a specific trigger for. Once said condition is aligned, the character’s portrait will light up and you reactively use their Combo skill. Building chains of these between your characters is essential to a fluid experience in combat. The developers aimed to recreate the feeling of a card battler and it certainly does feel like that at times. Aside from these combos you also have access to each character’s Ultimate once you have used their Battle and Combo skills enough. Getting multiple procs of these is key. Besides that, there are also active dodge and interruption systems, taking some cues from FromSoftware titles and many other action games on the market. There are currently 6 classes for your operators: Guards , Casters , Strikers , Vanguards , Bulwarks , and Supporters . Guards and Casters will do some damage but their main role is to apply various status conditions, be they physical such as Lift or Knock-Down, or elemental such as Combustion or Corrosion. Strikers are designed to take advantage of these and will be the main damage dealers in a party. The next 3 are designed to be more supportive in role. Vanguards help you generate more SP to use more skills and deal some damage while they’re at it. Bulwarks are your classic tanks, specializing in interruptions, parries and shields for your team while sometimes offering a little bit of healing too. Last but not least are Supporters. They are closer to your traditional healers, with their main role being to help with status conditions through healing and application thereof, as well as buff your operators with Amplification statuses. Arts focused teams will often bring a Caster and Physical teams will probably need a Guard, but other than that you are free to find your preferred mix and match. In my experience it’s a playstyle preference more than anything. Do you go all-in on parries and interruptions, relying only on your dodges and a limited consumable item to keep yourself alive, or do you fancy the safety of a good healer on your team? Arknights Endfield is certainly open to player expression and I look forward to the possibilities.   Do you go all-in on parries and interruptions, relying only on your dodges and a limited consumable item to keep yourself alive, or do you fancy the safety of a good healer on your team? Another thing that feels souls-like is the exploration. Endfield doesn’t employ a huge sprawling open world, rather opting for smaller, more condensed and deliberate areas. As you progress through an area, you find bridges, ladders or ziplines to create shortcuts. You will want these as  Endfield  has recurring resources that respawn daily across its world. The ziplines specifically can be constructed to quickly get across areas of the map or even sequence break your way into places you’re not supposed to be in yet. Additionally, you need to draw powerlines to these ziplines from your base of operations. In fact, you also need to draw power to solve puzzles and various other situations throughout your adventures. Here’s where the factory and base camps come in.  As you progress the story you establish a main factory in each region you come across, as well as several sub-factories and camps. If you’ve played a game like Factorio  or Satsifactory , this will all feel familiar and get you excited because the developers specifically took inspiration from those games for this aspect of the gameplay. If not, worry not! There is an extensive blueprint system that can be shared among players so if you just want to quickly set up production lines for the materials you need, the community will have you optimized in a jiffy. For those who really want to dig in the optimization, however, you will have a field day and quite the extended gameplay hours in this aspect. Your factory and camps will eventually level up as you produce and sell the materials, giving you more options. You will also construct combat facilities, literal towers to attack or defend places. There is a tower defense sub-mission in these camps but you can place them anywhere you can draw power to so people tend to place them in high combat areas to speed along some of the farming you’ll be doing in the endgame. You’ll be revisiting the world and thinking about how to make shortcuts in it actively, so adjustments like this and crafting ziplines to speed up package delivery missions are commonplace. There's a lot of freedom in how you are able to engage with the game. The social aspect ties into exploration and your factory management. As mentioned before, players can make blueprints to share for factory templates to help one another out in the construction and optimization departments, but structures of other players will also show up in your world. Ziplines, stashes and combat facilities will help you along in your journey, similar to Death Stranding . Whether you repair them to keep them around or not is up to you. More hilariously are the little message boards you can put down — again, very souls-like. Who hasn’t had the classic “big chest ahead” or “jump here” experience right at a treasure chest or cliffside? These are very fun and very much as you know them — preset phrases and words you can combine to create a message somewhere in the world. Get creative!  There is also an Animal Crossing -esque stock market minigame where you can buy a certain number of Elastic Goods which vary by price daily. Buy low, sell high; simple enough, right? Well, you’ll want friends to sell them to since you can often buy at a minimum in your base and sell at the max premium in theirs. Satisfying to see number go up. Endfield  is dense with even more gameplay aspects, I simply can’t mention all of it or this preview would be even more of a novel than it already is and I haven’t even touched on the endgame offerings. Suffice it to say that there is always something you can do in Endfield . When we put all of these systems together, your daily loop is going to be (in no particular order): Check on your factories and associated camps for resources produced and sold, deliver packages through a convoluted and self-constructed set of zipline towers, fight enemies in a team of 4 distinct operators, and finally play the stock market with your friends by selling turnip- I mean uh, Elastic Goods.  Gacha And with that, we go to the third and final “G”. Endfield ’s gacha aspect might be enough to ward away some players (if the prospect of managing a base and factories didn’t already) but alas, the monetization method of choice is having you randomly roll on characters with currency you earn in-game or just straight up buy with real money. Let me say that, in my experience, the game has enough to offer to players without having you spend a dime, as I have in the Beta Test. Endfield will be completely free to play but certain aspects of it may be monetized to enhance or speed up the experience. In what way? Well, that’s the hard part. Let’s break it down in a way everyone can understand. Endfield has a character banner you can pull on to get more characters and power up your already obtained ones with multiple copies. You will get the highest rarity, a 6-star operator, guaranteed every 80 pulls that you do. However, it might not be the one you want or one that is featured. As of writing, the featured fancy character on the banner is guaranteed at 120 pulls. In comparison to its competition, this is a fairer way to do it — but only for the one copy. Additionally, where the competition has you spend your premium hard-earned currency on characters and weapons, Endfield  gives you the currency for weapon banners on each character pull you do. Higher rarity means more currency obtained, so, your rolls funnel into each other. Theoretically good, right? While the gear system is very interesting and adds an additional layer of strategy and build variety, characters do have signature weapons that are tailor-made for their kits. Sadly, that’s where my praise ends as this system is quite possibly my only real negative with Endfield  . Not to get into the nitty-gritty of it, but there are annoying hypotheticals with this system. If you pull your desired 6-star early, you are left with little currency to pull on the weapon banner. Pulling them late, leaves you with… honestly not quite enough in my opinion. While the gear system is very interesting and adds an additional layer of strategy and build variety, characters do have signature weapons that are tailor-made for their kits. The way to get these is only from the gacha. You can obtain a number of good alternative weapons through gameplay only and these will serve you well, surely. But it always feels better to play Guts with the Dragonslayer right? What’s Cloud without his Buster Sword? Thankfully, this was a common point of criticism across the experience, so there’s hope a rework of this is inbound for the full release. One big sticking point for me personally is that the game employs a limited character system unlike its predecessor. It feels like they’re leaning more towards a FOMO experience which is detrimental to the long-term experience and new player experience down the line. It sucks to tell a friend who likes a certain character that they’re not available for them, right now. “Tough luck, wait for a rerun” isn’t exactly engaging prospects if you started later than your friends. Verdict Arknights Endfield  is a dense package of experiences, polished up in stunning graphics, backed by an amazing soundtrack and stellar voice acting. Your gameplay loop feels very satisfying, using action segments to break up your exploration and menu management,  keeping you engaged for hours on end. With some more polish and a rework of its gacha system, it has the potential to be a truly unique experience — not just in the gacha space, but as a game on its own. Here’s hoping the developers deliver and that we see it pop up at the Game Awards for 2026. Image Credits: Gryphline Disclosure: We received access to the Beta via publisher code. Arknights Endfield will be available for free on PC, PS5, and mobile devices come January 22, 2026.

Big fan of bingo. While Resident Evil 2  was my introduction to the Resident Evil   series, Resident Evil 4 was certainly the one I spent the most time with and the one I loved the most growing up. Originally released in 2005 to widespread acclaim, RE4  has been among the top listings on multiple ‘Best Game of All Time’ lists. Having played Resident Evil 4 many times on the Gamecube, PS2, and Xbox 360, I was excited for the remake heading in — and perhaps a little nervous. Despite Capcom’s excellent track record as of late, there was a bit of uncertainty in my mind on how well this remake would be handled. I was a fan of the major updates and changes made to Resident Evil 2  in the 2019 remake, but I didn’t want to see such sweeping changes to 4, as it felt like it really only needed some tweaks to nail down. Luckily, I think Capcom succeeded in achieving this. Publisher:  Capcom Developer:  Capcom Platform:  Played on PC Availability: Released January 25, 2019 for PS4, Xbox One, and Windows. June 13, 2022 for PS5, and Xbox Series S/X. Resident Evil 4 (2023) is a survival horror game with a heavy emphasis on action and gunplay. In a departure from games one through three, the original RE4 saw the camera shift from a static camera to an over the shoulder view of the player character, and controls were updated for more fluid movement and precise shooting. While it was a somewhat controversial change among series fans at the time, it has been fully embraced by Capcom and mostly so by the fanbase at large. That style of play remains here in the remake.. As Leon S. Kennedy, you are tasked with finding the President’s daughter Ashley in a remote Spanish village. This kidnapping has been orchestrated by the cult Los Iluminados, a parasite-infested, murderous group led by Osmund Saddler, who seeks to infect Ashley with their parasite and control her (and, eventually, the world). Leon travels through multiple locales and solves many puzzles in an effort to save Ashley and put a stop to the Los Illuminados, but surprising twists along the way keep things interesting - despite the basic premise. The design and flow of the game remains extremely similar to the original Resident Evil 4  — go to a new area, fight a bunch of enemies, maybe find a new weapon, solve a puzzle, and move on to repeat again. There are some slight variations here and there, such as solving a puzzle while on a timer or being chased, surviving waves of enemies, and even some escort elements as you lead Ashley around to safety. These basic ideas are mostly kept fresh by the ever shifting circumstances and environments you engage with, but Capcom also does well by adding new surprises as you go, introducing a turret section or a boat ride to keep things fresh. Broadly speaking, not much of the gameplay has changed in a major way when comparing the original 2005 title to Resident Evil 4 (2023) , but there are some minor tweaks that improve the experience. For starters, Ashley has a lot more survivability, meaning you can spend less time babysitting her health bar, and more time delivering her to safe positions. Another major change is the way knives work. If you’ve played the phenomenal Resident Evil 2 (2019) , the breakable knife mechanic from that game has carried over here. Scarcity of knives in the beginning sections means you have to be more particular about their use, judging whether to save them for emergencies or being proactive and using them for your offensive arsenal. There are other minor adjustments, as well — Leon can move and shoot at the same time, there’s a limited crafting system, and quick-time events have been removed from the cutscenes. Despite this, the remake remains surprisingly faithful to the original game, making only minor adjustments for the most part; so, when big changes do show up (or don’t, in the case of some bosses), it becomes much more apparent. It baffles me that Capcom consistently makes such gorgeous titles. That aforementioned faithfulness is perhaps most notably shown in the enemy types and environments. For enemies, all of the classic basic foes (Villagers, Zealots) remain, and the special ‘elite’ types like Garadors and Regenerators are here, as well, revealing themselves exactly as they did in Resident Evil 4 . There are some notable boss exclusions from the base game, like U-3 and one of Salazar’s “hands,” but most of the major bosses are present also.  The environments are stunning and lovingly recreated with modern technology. While there are some more prominent changes later in the game (notably during the island portion of the story), I was almost shocked at just how little was changed in terms of area and building layouts in the early village moments. Anyone who has played the original game is bound to recognize many of the buildings and puzzles. That familiarity makes the changes stand out all the more. Any time there was a new puzzle or fresh cavern to explore, I was ecstatic about the prospect of encountering something new. Resident Evil 4 (2023) still retains its arsenal of handguns, shotguns, rifles, grenades, and rocket launchers. Most of these weapons are upgradeable at the Mysterious Merchant’s shop, so you can keep playing with older weapons if you like the feel of it, or swap to the new ones you come across. Fortunately, there is also a target range you can use to try out the weapons and earn prizes in the form of keychains that increase various stats, such as reload speed, movement speed, or the amount of health recovered by specific items. The weapons all have a unique feel to them and sound great, but it is a bit disappointing that there are so few new tools to play with. Speaking of the sound design, its greatness doesn’t stop at just the guns. Much like the RE2 remake before it, Capcom makes excellent use of ambient sounds and background voices to help create unease and tension. On top of that, every explosion is appropriately bombastic, and each splash of water or hit from an attack is justifiably weighty. Capcom has managed to create the perfect soundscape to this game, concocting a beautiful mix of both terror and excitement. Anyone who has played the original game is bound to recognize many of the buildings and puzzles. That familiarity makes the changes stand out all the more. Any time there was a new puzzle or fresh cavern to explore, I was ecstatic about the prospect of encountering something new. Thankfully, the levity and absurdity of some moments from the original version remains, with Leon feeling fittingly quippy and aloof, while maintaining some of that personality he had shown in Resident Evil 2 (2019). Many of the original one-liners remain, though some have been slightly altered, and new lines are quite common. More ludicrous moments like the high-speed mine cart ride full of enemies wielding guns and dynamite stand pat, keeping that feeling of familiarity close at all times. Even the Merchant, a seemingly random guy willing to provide Leon with an preposterously diverse array of weaponry, remains. The laser trap room is gone, however, so that’s a bit of a bummer. Probably my favorite aspect of the original Resident Evil 4  was the Mercenaries mode, which makes its return here. Mercenaries is a mode where you fend off waves of enemies while trying to boost your score. Score gets increased based on chains of consecutive enemies eliminated, total enemies killed, and time remaining on the clock (if any) when all foes are gone. You can choose up to 8 different characters, each with their own abilities and weaponry. It’s a fun little arcade mode to test out your skills, and there’s a good prize if you get an S rank on every stage. I spent much less time on this version when compared to the original game, however. It just didn’t really click for me in the same way. In truth, there was a hint of disconnectedness through my entire playthrough. I enjoyed my time with the remake thoroughly, and I would much rather play through it again than go back to the GameCube or PS2 versions. But somehow, despite being better in just about every conceivable way, I’ve come away not liking it nearly as much as I loved Resident Evil 4 . That’s a ‘me’ problem, surely. I’ve struggled with decoupling my personal feelings and expectations from a remake before , and I’m sure I will again. I was constantly reminded of what the original was, and what this game was missing or did different. I find it regrettable that most of my time playing, and most of this review, ended up being comparative , rather than thoughts formed in a vacuum. For newer players, I would certainly suggest Resident Evil 4 (2023)  over the original. I just find it unfortunate that a blend of nostalgia and my own expectations have diminished what would have otherwise probably been an incredible affair.   Verdict Resident Evil 4 (2023)  is an excellent game that captures the tone and absurdity of the original RE4 , while breathing fresh air into its systems. Beyond graphical or audio enhancements, this game improves on every bit of the core gameplay when compared to the original. The fast-paced, fun, and fluid gunplay goes well with the exponentially more aggressive enemies, creating an experience that is both tense and action-packed. The phenomenally designed environments and character models are sometimes grotesque and at other times strikingly beautiful, and give an iconic scenario more than their due. Resident Evil 4 (2023)  has a great respect for its source material, but is not afraid to make some changes, and it's all the better for it.  Image Credits: Capcom

Putting it all together. Compile: Main 2  is a strategic, area control card game and the standalone expansion to Compile: Main 1 . As a standalone expansion it can be played in conjunction with the original Compile: Main 1,  or played on its own. In some ways, calling it an “expansion” feels unkind, as Main 2  is just as robust of a package as the original, featuring 12 unique protocols and decks, each with six cards. This makes it just as complete as playing Main 1  on its own. Product:   Compile: Main 2 Designer: Michael Yang Publisher:   Synapses Games , Luma Imports Price: $24.99 Age:  14+ The ruleset is exactly the same between Main 1 and Main 2 , so if you’re already familiar with the concept and gameplay loop of the original, don’t expect any changes in that regard. Each of the two players will select three Protocols each to work with, which are then played into “command lines” or lanes. These protocols each have their own unique identity, such as “Luck” utilizing a sort of luck-based approach to play and “Chaos” that implements chaotic card management, drawing and rearranging. Once the value of a line is 10 or more and that value is more than your opponent’s value on the same line, you must compile them. Compiling deletes all cards on that line for both you and your opponent, placing them into the trash. The player who compiled flips the associated protocol card, generating new effects. The first player to flip all 3 of their protocol cards to the “compiled” side wins. All things considered, the ruleset and main flow of the game are both quite simple, with very little to keep track of on that side of the equation. Where Compile: Main 2  really shines is in the ways the card effects themselves interact to create these constantly evolving board states that can change the way players approach each turn and every game. This was true of Main 1 , as well, but I find this newer entry to be a bit more balanced overall with a greater distribution of powerful effects that allow for player experimentation without engendering a feeling of being pigeonholed into particular strategies or protocols. While it is true that not every protocol synergizes well with other protocols (or even within its own deck), the open nature of play allows for unique and experimental strategies in every new game. Synergy is not entirely necessary when you can simply combine multiple powerful effects to achieve the same goals, even if those effects don’t compound or compliment each other in obvious, natural ways. Furthermore, as each game will only run you about 20 minutes to play, you can really throw caution to the wind to try new approaches. You’ll never feel punished in an existential sense for messing around and trying out a new combination. If something didn’t work as well as you intended, you still got the opportunity to play a fun game for a little bit of time, and you can just move on and try again. There’s no hours-long investment to see your strategies come to fruition — you play the cards and things are done. These cards are amazing to hold and behold. I do want to take the time to speak about (and compliment) the actual “product” itself, not just the game quality. Compile: Main 2  comes in a small, black box, and only contains a single piece of paper for its ruleset. The compact nature of the box, along with its gold accents and design that is reminiscent of computer hardware, holds a simple beauty. The box is nothing compared to the cards, though. I wish I had a way to gush about these cards for more than a few lines. They feel phenomenal to hold in your hand — there’s a nice texture to them that you rarely see in card games, and they seem to be made of sturdy stock. There is also a light foil effect on each, with some accents around the command lines and names that highlight the individual areas of the card in a really cool way. I won’t pretend to know the specifics of how card making happens, or how different foil effects change the quality of a card, but none of my cards have come warped or deteriorating in any way — something I wish was also true of my collections across other media franchises. There is one additional aspect of these cards that took my breath away when I first saw it — the artwork. The cards within each deck themselves look extremely simple, with basic shapes and colors that don’t seem to mean or depict anything in particular. However, when examined closely, we can see that each is a piece of a larger whole, a part of a mosaic that ultimately makes up the whole image on the “compiled” side of the protocol cards. These full works on the protocol cards are stunning, and the texture and light foil effects on each only serve to accentuate that. Looking at and holding these cards is just such a wonderful feeling. I want to keep them around even when I’m not playing. Verdict Ultimately, it’s hard to argue against Compile: Main 2  as a product or as a game. The packaging and presentation is great, the game is a lot of fun and it can be played by all skill levels, and it is a low-investment game. Being able to mix and match these cards with Main 1  is simply a bonus at this point. This is a full game, worthy of its own praise and play, and one I highly recommend. Disclosure: We received a free copy of this title from the publisher.

2025 was a year full of great games — hidden gem indies, AAA experiences, and everything in between. For our part, we played over new 200 titles this year as a collective group, though not all of them made it for review. While there's no such thing as a definitive list, the staff here at JetsonPlaysGames did our best to come together and make a list of our 10 best titles that came out this year. This list is not ordered, and there's no math behind it — just our best gut feelings. Consume Me In our review  for Consume Me , we said it was endlessly creative, touching, gorgeous, and certainly worthy of the pre-release praise it had garnered — a statement we stand by today. Consume Me  is a true jewel in the crown of video games that manages to perfectly marry the gameplay with the narrative. Every inch of this work of art feels personal in a way that left us feeling simultaneously certain in its meaning and perplexed by our own understanding or interpretation of it. Image Credit: Hexecutable and Roger and Roger   is a gut-punch. The type of game that is both inventive mechanically and emotionally moving. It is stylish, sometimes cute, and often devastating. At only about an hour long, and Roger is a quick play, but it will likely stick with you forever. Image Credit: Kodansha Trails in the Sky 1st Chapter Trails in the Sky 1st Chapter  is a phenomenal blend of Sci-Fi, fantasy, and anime aesthetics that manages to balance the expressive and silly nature of the visuals with the oft serious and somber subject matter of the story. With a thriving world to explore, nuanced and interesting characters, and exciting, deep combat, Trails in the Sky 1st Chapter  is sure to be regarded as a classic for years to come. Image Credit: Nihon Falcom Dispatch Dispatch  makes for an excellent watch, and seeing the events play out over several weeks as a community only heightened the anticipation and excitement for each subsequent episode. Featuring gorgeous visuals and tight, natural writing, Dispatch lands as one of the year's best experiences, even if the humor does veer on the side of vulgar and juvenile. Image Credit: AdHoc Studio Discounty In Discounty , building up your supermarket and ironing out inefficiencies is just as satisfying as ringing your products up manually. Despite some narrative loose ends and obvious areas in need of improvement, it remains an enticing, laid-back affair. Image Credit: PQube Monster Hunter Wilds Monster Hunter Wilds  starts slow but is worth the wait. Bombastic battles and diverse equipment ensure you’re always either working on something or enjoying the ride when you play. Wilds retains many of the quirks and systems that the series has been known for over the last two decades, but this is the most accessible the series has ever been. While many of the series’ edges have been sanded off, it still remains a rewarding experience, overall. Image Credit: Capcom Herald: The Interactive Period Drama — Complete Edition The final two books in Herald: The Interactive Period Drama – Complete Edition  stay the course and deliver upon the promising narrative laid out when the first two books were released in 2017. While the lack of clear and distinct agency or choice may throw some overboard, the design serves the broader narrative and drives home many of the underlying themes, crafting a powerful tale about agency and oppression. Image Credit: Wispfire Split Fiction Split Fiction is a winding speedway of gameplay concepts and modes, shunting players between 2D platformers and pinball machines as they navigate the worlds within the characters’ minds. While the story is predictable, there’s always something new around the corner to keep your mind off of it. Image Credit: Electronic Arts Blue Prince One part puzzle game and one part roguelite, Blue Prince   is a beacon of creativity and mystery. Masterful use of space, color, and the video game medium itself have concocted a beautiful blend of storytelling and puzzle solving. In many respects, Blue Prince is a collaborative effort between the game and its players, with each run feeling unique by handing the players the keys to the manor Image Credit: Raw Fury Ender Magnolia: Bloom in the Mist As a follow-up to Ender Lilies: Quietus of the Knights , Ender Magnolia  improves upon its predecessor in nearly every way. Its freeform, deep combat is open to player experimentation, keeping each and every moment spent navigating its labyrinthine map fascinating. Image Credit: Binary Haze Interactive The entire team at JetsonPlaysGames wishes to extend each and every one of our readers a heartfelt "Thank You." 2025 was a great year for games, and our top ten reflects that well, but we couldn't do this without your support. We'll see you in the new year — let's hope it's a better one!

Saying Goodbye (For Now) What FFVII Rebirth can teach us about life...and letting go. My first Christmas memory is unwrapping an NES, meant for the entire family, immediately hooking it up to the TV in the room, and playing Ducktales until my family forced me to stop. Our family Christmases were always held in the metro area of our home state. Both sides of my family lived there, so it was always convenient to have one big trip for the holidays. The trips were always long, and we relied on family to put us up for the nights we were there, but we always visited everyone we could. After all, this might be the only time we saw our family for the year (or even years). I generally hated these trips (or any other trip to the cities), but there was always at least one bright spot — visiting my uncle. I was really too young to understand the particulars, or even to know my uncle well, but every time we visited it seemed like he had something for me. He was especially supportive of my art, providing me with materials to draw and color as much as I wanted on his table — or his floor, which was my preferred spot. He once gifted us a large box of art supplies that seemed to last forever. A box of crayons, colored pencils, pastels, and paints — it was the go-to whenever I felt like creating something new. It was always there when I needed it. My uncle passed away in 2000, and it was a difficult time for my family. Especially so for my dad. Both my grandfather and grandmother had passed away within the last few years, and he had now lost a brother. To be honest, I don't remember much of the time we spent with family at these funerals or gatherings, but what I do remember was seeing my dad cry for the first time at my grandmother's funeral, and for the second time at my uncle's funeral. I didn't really know how to process anything that was going on. When we arrived back home, a friend lent me Final Fantasy VII for the PSX. We were a few years removed from the massive frenzy surrounding the game, but I had never played it and didn't know much about it at all. I had played Final Fantasy I, IV, and VI, so I was at least somewhat familiar with the series, and since I didn't have to go to school anyway, I figured I'd give it a shot. What I got was a deeply moving, and personal, experience. An absolutely stunning game, in terms of visuals and scope. Aside from being a fun RPG with cool guys, big swords, and killer music, Final Fantasy VII ( FFVII ) is also a game about life, death, grief, and acceptance. Through Final Fantasy, I was able to gain a better understanding of not only these things and how they affect people, but I was also able to contextualize and process the events that I was going through. The most famous event in gaming history is a powerful moment, to be sure, but even beyond that singular bit, much of FFVII 's mid portion deals with the party's previous losses, their grief, and their acceptance of the events past and present that haunt them. It is my favorite part of the game. Final Fantasy VII Rebirth is the second of three installments in the Final Fantasy VII remake project, which was announced in 2015. Rebirth , in particular, covers that aforementioned mid portion of the Final Fantasy VII story, and aims to do so in a larger fashion. Much like 2020's Final Fantasy VII Remake, Rebirth extends and extrapolates the events to give us a more in-depth look at the world, all with a great new coat of paint. Rebirth has a great balance of new scenes and characters with retelling the old story in both a recognizable and satisfying way...some of the time. In between all of the great character moments, and exciting action of the battles, the game manages to muddle the big moments of the original game, more often than not. Major moments from FFVII are often presented in a tonally inconsistent way with the original, or even move from one tone to the next in the same scene, giving major moments no time to breathe. It is an extremely long game with so many things to collect and see, yet it somehow never makes adequate time for the moments that really matter in the narrative — moving at breakneck speed from somber goodbyes to slapping butts all within the same cutscene. I am not particularly averse to change, or having a new spin on old material. Much like with music covers, I don't think it's worth doing unless you've done something new with the material. So, for me, it's not that things are different, it's how they've deviated that confuses me so frequently. Which, in retrospect, is a shame. I do believe there is a great game in here somewhere . For all the narrative faults, there's so much to love. The soundtrack, with over 400 songs, is a phenomenal blend of arrangements of old songs and new material. The combat is fast, fun, and flashy. The characters, voicework, and cutscenes are some of the best I've ever seen in a game. So why, then, does this feel so hollow in the end? Fun and flashy, the combat absolutely delivers. My major grievances are with just a few elements of the game: Overwhelming side content, and main story presentation. The side-content, in particular, really wore on me as I played through the game. Mountains of filler collectibles and towers litter each map — all of which distract from the actual good and fun things you can do. Unfortunately, you need to complete everything in order to do all of the sidequests and get many of the good moments and content in the game. You need to pick those leaves, and hit those towers, and collect that trash in order to get your best materia, or unlock the character quests. All throughout that, Rebirth throws minigame after minigame at you. There seems to be a bespoke minigame for about 40% of the quests in each area. This sounds like a cool idea in theory, but most are really underdeveloped. Some have bad controls, some are broken mechanically, and most are just plain boring, but you have to do them all. You want to have a moment with Aerith? You better play this boring ass mushroom picking thing we threw in here, buddy. For the story, there's a lot more to love. Great action, voices, characters, and emotional moments throughout the game kept me engaged and wanting to see more. Not just the retreads of the original FFVII, either. The original beats of the story end up being some of the best moments. They give us a deeper understanding and appreciation of the characters and world that just wasn't possible back on the Playstation, but they fumbled the major incidents from the original game in ways that had me asking ' why ' more frequently than I would like. The final moments of the game are especially baffling. I feel like I have a good grasp on what happens, what they're going for, and where they're taking it for the next game, but I do wonder how a new player (one who has not played Final Fantasy VII before) takes all of what is happening in. The individual areas in Rebirth are massive. To me, it's not just that the ending is intentionally confusing/misleading — it's that it takes a major bite out of the events, in general. So much of the messaging is lost in these moments, all so they can save them for the next game in the installment. This was frustrating enough that I began to question whether we really needed 3 parts at all. So much of this game was tedious in terms of the actual gameplay experience. Could it have been condensed into a better game? By the end of this project we will have spent 10 years and what we get is a retelling that can realistically only land in one of two places: A fundamental change of the events that took place in the original FFVII , or a significantly worse, bloated, retelling of the original narrative. To be honest, I'm not really sure where I want them to land here. It might be more exciting to have them do something drastically different in terms of outcomes, but I don't really have faith that this team could pull off anything satisfying. Landing on the original plot, would be nice because it's an all-time classic, but then I wonder what the point of all the plot ghosts and rainbow worlds and other nonsense over the last 10 years was for. So when I sat down to review this game, I had to think about how I could possibly score it. It is often a lot of fun, but is maddening to me in so many ways, as well. As I ruminated on the things I liked and didn't like, I quickly realized I couldn't score it at all. It became impossible for me to really take this work on its own merits. Every scene or mechanic was, in one way or another, chasing the ghost of a game that came out in 1997. The story, in particular, was impossible for me to decouple from the original work and the major impact it had on me at a vulnerable point in my life. Rebirth , then, has once again given me a valuable reminder that the cycle of grief can manifest in so many different ways. Only this time, it's dealing with the death of my time with the Final Fantasy VII universe. I will probably not play the next game. My frustration with the game and its errant retelling has really soured me on the project as a whole. I just have to accept that this game, and this trilogy, was not meant for someone like me. There are so many other people who get the chance to play this game (and the others in the trilogy) without their expectations or experiences colored in the way mine are, and I truly hope they enjoy it. In the end, I can take some comfort in the fact that my memories of my original experience will stick with me forever. Final Fantasy VII is a core part of my gaming identity, and even if I don't necessarily count it among my favorite games, it came at the perfect moment in my life. The original Final Fantasy VII , much like that box of art supplies from my uncle, will always be there for me, just waiting to be picked up whenever I need it. Photo credits: Square Enix

The Tyrant of the horror genre still rules with an iron fist Content Warning: Images and descriptions of gore and violence I was still a child the first time I ever watched or played a horror game, completely unaware of what I was getting into. I remember sitting on the floor at a friend’s house, watching the screen as a man in blue trudged through the sewers, when suddenly, a giant alligator burst onto the scene. As Leon ran for his life on-screen, my friend and I were screaming the whole way. No game had ever made me feel terror like that before. We spent the rest of the day playing Resident Evil 2 (1998) , and I was so distraught when I finally had to go home. Once we got back home, I begged  my sister to get me that game. Eventually, she did. Big sis pulled through, bringing home a copy of Resident Evil 2: DualShock Version . Not really knowing what I was doing, I played it on “Arrange Game”. How cool is an unlimited gatling gun or infinite SMG? Despite these powerful tools, I was still so scared of everything I was seeing and hearing. I could not play the game in the dark, or even alone. Those squelching sounds of the zombies and the lickers’ tongues haunted my dreams for some time. Eventually, I beat the game and fell in love with the Resident Evil Franchise. Publisher:  Capcom Developer:  Capcom Platform:  Played on PC Availability: Released January 25, 2019 for PS4, Xbox One, and Windows. June 13, 2022 for PS5, and Xbox Series S/X. Enter Resident Evil2 (2019) , a remake of the previously mentioned, legendary game of the same name. While remaining fully within the same survival horror genre, this newer take on the classic now features an over-the-shoulder third-person camera, like the camera angles featured in many other modern Resident Evil games and popularized by Resident Evil 4 . Modernized controls, camera angles, and completely revamped graphics make the idea of a remake an enticing prospect, and Resident Evil 2 (2019) delivers all of that and more. The core of the game remains the same: A story split across 2 scenarios and stories (Claire and Leon), where you must navigate through the winding and intricate levels of a police station, sewer, and underground lab. While trying to make your escape and survive the night, you’ll come across zombies and other horrors, solve puzzles, and frequently rearrange your inventory to make the necessary space in your pack to continue through the areas. There are differences, however, in how these function from the original game. The story itself has been slightly modified, and much of it is told through beautiful cutscenes that really showcase the great character and environmental design put in place here. The Scenario A/B function of the game is less impactful in the remake than the original game, but you’ll still see different enemy and item placements and get a different final boss. The game is also visually much darker than the original, with your characters navigating dark hallways and rooms with only a flashlight or minimal lighting to keep the enemies hidden. Puzzles in the remake are actually puzzles, rather than simple key item repositories. There are a few concessions to modern game design principles, however. Items now appear on your map if you see them, and the map will automatically update to let you know if a room has been cleaned out. Navigating the halls of the station and other areas is seamless - no loading screens whatsoever. And finally, saves are now infinite, whereas in the original game they were limited to how many ink ribbons you had on your person. Visually stunning and appropriately dark, the game knows just when to show it's hand. Another big difference is the inclusion of Mr. X as a persistent threat in the first run of the game. He is somehow one of my favorite and least favorite mechanics at the same time. He is just so tenacious. The threat of this hulking mass wandering the halls and punching you in the face at any given time really ramps up the urgency of every action. And you’ll hear his big boots coming from a mile away. It always keeps the tension high, even if you can just enter a safe room to avoid him in many situations. Without playing the game, you would assume that the increased character control and better gunplay would serve to make the game less scary than its predecessor, but I am here to tell you that is flatly untrue. While you are more capable as a player, so too are the enemies. They move faster, travel in bigger packs, and are in more tightly enclosed areas then the original game. On top of that, the graphics are so damn good – making the gore and decay present here truly repulsive sometimes. Some moments in the game are absolutely brutal to witness. All of this is tried together by the excellent sound design all throughout the game. As you wander in the dark, you’ll hear noises of your enemies in the distance. Shuffling of the walking zombies, or glass shattering, or various other disgusting sounds permeate the halls. Sometimes it’s a fake-out, and at others - a warning. Those sounds really keep you on your toes – I felt insanely paranoid throughout much of my runtime. The sounds are appropriately disgusting when needed, but I think it’s so well done in other areas, too. Things like clanking of metal bars, or aluminum cans, or how your gun rings out when you fire it are expertly crafted, and if you have a good sound system or pair of headphones, you’ll be wowed by just how great everything sounds. The voice acting is perhaps the only thing that is uneven in the sound department. Some of the performances are stellar here, while others remain a bit flat. Nothing ever reaches outright bad acting, but it’s not the strongest feature. This is a bit of a disappointment, because the story and presentation are truly excellent, overall. It serves as a great re-telling of a classic story but does enough to make itself stand out from the original material. I found myself engaged throughout the entire experience, and there were more than a few surprises, even for someone familiar with the source material. It may not have been pretty, but we made it through the experience. Something that makes this game difficult for me to review is just it’s inherent nature as a horror game. It is with great shame that I admit this game scared the ever-living-hell out of me - basically from start to finish. Every enemy I can’t see but can hear drives me into paranoia. Each time Mr. X walks through a doorway, I start spiraling into a panic. It can be hard for me to focus on the details as I play the game, because I am just so flustered. I’m just trying to survive. Despite that constant state of fear, I loved this game. Or maybe it’s because of that fear that I appreciate the craftsmanship on display here. That is the point of a horror game, after all, isn’t it? I know my general state of panic was horrifying in the moment, but when I look back on each memorable set-piece, or fight, or scene, I can’t help but think to myself damn, that was cool . Verdict Resident Evil is a franchise that exemplifies horror, and Resident Evil 2 (2019)  goes even beyond that. It is, quite simply, the finest horror game I have ever played. From the exciting story to the frightening creatures on display, this game shines brightly in the dark. It’s a game that makes you consider your options constantly and puts you on the spot to face your fears at every turn. Best of all, it’s so damn fun to play. If you are interested in Resident Evil as a franchise, or even just horror games as a whole, you owe it to yourself to play this masterpiece. Image Credits: Capcom and Taylor Rioux

One Line to Venus. The bridge of the Aphid was quiet. I’m not sure I’ve ever experienced anything quite like it. A room full of people, but the only sounds to be heard were the low hum of the engine and the occasional click of the keyboard by our navigator. After months of maneuvering, the momentum in the race for Senate control had turned against us. Captain Valence, the darling of the Jovian system, had us on the back foot. While we scraped for influence, Valence had tightened his hold on Jupiter. He was practically royalty there, and his gravity was pulling the rest of the system into his orbit. Staring at the tactical pad in front of me, I could see my reflection. God, I look tired. Product:   Zenith Designer: Grégory Grard, Mathieu Roussel Publisher:   PlayPunk, Gém Klub Kft., Luma Imports Price: $39.99 Age: 12+ Valence’s gravitas on Jupiter forced me to rethink our approach. Rather than gain control over a single planet, we’ve worked to spread ourselves out across all of the contested planets — Mercury, Venus, Earth, Mars, and Jupiter — making in-roads with local populations and leaders. It hasn’t necessarily been easy, either. Doing so has stretched our resources thin. Valence knew it, too. He hadn’t just sat on his throne — he’d been surgical, calculated in his deployment of agents, running disruptive efforts against us and hindering our channels of communication and commerce across the system. Now, the Aphid  was running on fumes, with our reserves low on credits, and even lower on zenithium. If we didn't refuel soon, we wouldn't just lose the election — we’d be drifting dead in the void. It all came down to this, a single line thrown out to the councilors of Venus. We only needed one to bite. I looked over the crew and saw that they were tired, too. My mind turned to the nights the animod Khan and I spent down on Mercury, the days drifting on earth with Sam, and all of our collective efforts on Mars; it would all be for naught if we couldn’t secure Venus before Valence finalized his dealings on Jupiter.  Before I got lost too deeply into my own thoughts, a voice rang out. “Captain Einin, receiving communication from agents Hiroshi and Ilda on the surface!” “Patch them through, Lieutenant.” I stood up, instinctively straightening my uniform. I’d read once that posture carries through the voice — that if you want to command respect, you have to act like the other person is in the room. But it wasn't just for Hiroshi. It was also for the crew. They had sacrificed time with their families, sleep, and sanity. They needed to see a Captain, a real leader. I could only pray the call had good news. "Captain," the static crackled, followed by a breathless voice. "Agent Hiroshi reporting. We… we’ve secured an audience with Councilor Aevis at the capital." I held my breath. "And?" "She’s pledged, Captain." Hiroshi’s professional tone cracked, letting a laugh slip through.  "She’s backing you at the next session. She also wanted to convey that she appreciates the… 'mutual support.'" A wry smile began to crawl across my face. Waves of relief washed over everyone in the room. We were still in it. With Venus secured, the math worked. We held the inner system. Even without Jupiter, I had the votes to seize the majority. Provided Valence doesn’t get to it before us. “Great work, Hiroshi,” I said, trying to keep my demeanor calm and professional, “secure transport back to the Aphid  for agent Ilda and yourself. We’re breaking orbit within the hour. Out.” The communication was now closed, but another call remained to be made. “Lieutenant, put out an open message to all members of the senate.” "Ready, Captain. What’s the message?" I took a deep breath, trying desperately to calm the nerves that sent shivers through me. “I am calling for a session to be held so we may vote on the next Senate Majority Leader.” The silence that followed felt like an eternity. A silence that threatened to swallow me whole should it not be broken. The crew watched the main screen, waiting for the central AI to acknowledge the claim. “CONFIRMED. SESSION WILL BE HELD ON 11/15/2487 AT 12:00 UNIVERSAL TIME.” The bridge stayed silent for one heartbeat more, and then erupted. Cheers, whistles, and laughter filled the air. I looked around at them — my navigator wiping his eyes, my comms officer giggling into her headset. Calmly, I adjusted my cuffs, looking toward the viewport and the distant stars. My thoughts drifted to the empty bunks, the agents we lost to get here. The tech we bled to build. I looked down at our navigator. "Well then. Let’s make our way to the Curia." As the engines of the Aphid  roared to life, propelled by the last of our reserves and a renewed hope, I made a vow to those we left behind. For them, I’m going to do some good. Verdict In Zenith , players  will struggle to gain Influence on 5 planets: Mercury, Venus, Earth, Mars, and Jupiter. A strategy game with engine building elements, Zenith  will see players manage resources, calculate where to best place their pieces, and ponder how best to interfere with their opponent’s plans. Each game takes 25-35 minutes but will keep you engaged the entire way though thanks to high player interactivity and a large number of moving parts. It also sports great board presence and immaculate artwork. It’s a great time, all around.   Disclosure: We received a free copy of this title from the publisher.

UNBEATABLE has its fair share of problems. Performance woes (such as hitching) that hinder the gameplay experience during songs and poorly implemented scene transitions are chief among them. However, if you stick all the way through it, you might just come out a bit better for it. In some ways, this game feels like a personal attack. Some of the more difficult tracks are not my style, the story is meandering and unfocused, and it frequently forces me to confront my own real-world failings.  Publisher: Playstack Developer: D-CELL GAMES Platform: Played on PC and Steam Deck Availability: Released December 12, 2025 on PS4/5, Xbox Series X/S and Xbox One, Windows PC, Nintendo Switch. It sounds hyperbolic — and maybe it is — but I’m writing this in the moment. In the glow immediately after finishing the game so I don’t lose my thoughts on the here and now. I want to put how I feel down rather than how I think because there will always be more time to think about UNBEATABLE, but I’ll never get to feel these first feelings again.  And I’m feeling distinctly mixed. Down. Unsure. And that’s less about the quality  of the game and more about its qualities . UNBEATABLE is a rollercoaster ride — there’s no doubt about that. The game oscillates between highs and lows, taking long, hard looks at nothing before shunting you into the coolest set-pieces a rhythm game has ever conceived, only to then jump into seemingly unrelated story beats. You’re never really on solid ground. I’m never there, either.  I see myself in Beat, the main character. She’s a bit listless and unfocused. Always jumping to the next thing, but never taking the time to resolve the issues or work of the moment — something the story shares with us. But Beat has other problems, too. She’s not good at talking about her feelings. She’s not good at people. She’s got some regrets, and they’re my regrets also. I suppose our biggest failing is how reticent we are to own up to our mistakes. Are they mistakes? Sometimes it feels like we do it on purpose. The artwork of UNBEATABLE is gorgeous and the variety of gameplay mechanics keeps things interesting. There are some specific moments in the story that prodded me in ways I was not expecting. Events from Beat’s story that are so reminiscent of my own that it hurt me to see them play out. But ultimately I don’t really think UNBEATABLE is Beat’s story at all. It's Quaver’s. And Clef’s. And it’s about everybody else around Beat who supports her, who gives her grace, who listens, plays with her, and loves her. It’s about the people who do that for us.  Through every mistake in my life I’ve been fortunate enough to have people there to pick me up. I know  that, of course, but I suppose there are moments where my head is up my own ass just enough to think I can go it alone. But I’ve never been alone. Not really, anyway.  The totality of the messaging in UNBEATBLE does come out a bit saccharine. Themes about love, support, and forgiveness are pervasive. Yet, at least for the moment, I can’t help but feel that sweetness myself. The feeling that, if I simply accept the love and care thrown my way, we really can band together and become unbeatable.

At the start of 2025, I started a podcast called Little Victories, with the sole purpose of interviewing game developers about their experiences working on games. Initially galvanized by an interview I had in 2024 with Roosa Jokiaho, who worked as a Cinematic Artist on Forspoken, this conversation led me to reach a logical but equally important conclusion. Every one of us likes to be listened to, to be engaged in deep conversation about what we have learned from our work, and to share it with others to positively impact them. Taking the plunge, I sent a direct message to Alex Kanaris-Sotiriou, creator of Mythwrecked: Ambrosia Island, who I had briefly interacted with on social media and eventually became my first guest. As soon as he accepted, I knew the ball was rolling. There is always a nerve-racking feeling to create a tangible, real idea from a nebulous concept in our minds, but also a feeling of excitement that accompanies it. Looking back, it feels like everything that I had been working towards as a gaming journalist was finally taking on a purpose. After commissioning a graphic identity from a close friend of mine and having a talented piano player musicalize the introduction to the tune of The Legend of Zelda when opening a chest, the stage was set. Set in a friendly, conversational tone, every interview revolves around a set of questions that I was intrigued by playing these developers’ brilliant games: the elevating music, subdued narrative beats, big gameplay elements. What took me by surprise was the life lessons that sprouted from these chats. I wanted to take the time to ponder the seven lessons that I have learned while chatting with all of these brilliant developers who took the time to answer my questions diligently and reflect upon their work. Work Smarter, Not Harder Alex Kanaris-Sotiriou is a veteran of the gaming industry, having formerly worked at Sony Cambridge with the likes of Killzone and Ghosthunter. In 2017, Alex jumped ship from Sony and created his own independent studio, Polygon Treehouse.  A multitalented creative director, Alex created Roki in 2020 and subsequently Mythwrecked: Ambrosia Island in late 2024. In my interview with him talking about the intricacies of Mythwrecked, there were abundant morsels of wisdom. It all essentially boiled down to working smarter, not harder. Mythwrecked is an isometric collect-a-thon set on an uncharted island in the Greek peninsula. As Alex, a British backpacker, you are tasked with helping the Greek gods — who have seemingly lost their memories — to regain them and remember who they are. Embodying a brilliant message to not overwork oneself, there are many forward-thinking design choices that make this lesson shine. As Alex mentions in our interview , the representation of the Greek gods at the time they were created was all about personifying the preoccupations people had at the time: Poseidon is worried about climate change, Ares is a trigger-happy manchild, and Hermes is riddled with anxiety. In life and in game development, sometimes we overcomplicate how we go about things without even thinking of the simple route. While I am sure this laissez-faire approach does not work in everyone’s case, Alex’s conversation is full of incredible reminders to take the clever route when starting a new project. Not everything needs to be as complex as we first envision it in our minds. Hey, he's trying. Image Credits: Whitethorn Games Be More Vulnerable Harold Halibut is a video game about a janitor by the name of Harold who does not quite fit into the world he was born into. Living in an underwater spaceship stranded on a far-off planet, where everyone appears to be happy with their place in life, our protagonist seems anything but. In Harold Halibut, seasoned narrative designer and writer Danny Wadeson deftly pours his heart out via a series of uniquely transcendental conversations. Society is a harsh place, but through this charming sci-fi adventure, we are reminded of how important it is to be vulnerable. Finding a friend in Weeoo, an alien fish who becomes friends with Harold, they embark on the ride of a lifetime. Uniting two lifeforms to help their predicament with a honed sense of humor and wit, the literally handcrafted set pieces evoke a holistic sense of wonder that hammers home the lesson that I am glad to have learned that day. Harold Halibut was the first game that I ever reviewed and gave a 10 out of 10 thanks to its multidisciplinary showcase of creatives to deliver one of the most heartfelt stories in the modern era of gaming.  There are moments in our day-to-day lives that we can become arrogant, maybe even aggressive, to the people who we frequent. Whether it is attributed to unresolved personal issues, constant friction at work, or simply having a bad day, staying in touch with our emotions is of utmost importance. Being more vulnerable is not just to talk openly about what we feel but to take responsibility when actions we have committed have hurt others. Finding our place in the world is not selfish, but so is making sure our emotional journey uplifts others. After all, no one lives in a vacuum. Celebrate Diversity Life Is Strange: Double Exposure finally brings back Max Caulfield, a beloved protagonist since she was first introduced in the iconic first entry in the series. Along the way, many other new characters during her tenure as an Artist in Residence at Caledon University cozy up to our now older Max. Some of them are on the LGBTQ+ spectrum and are quite realistically represented, with no one feeling like a token character for the developers at Deck Nine Games to take a victory lap. In my conversation with Staff Writer Aysha U. Farah, she attributes this to a basic reason: they hired gay and trans writers. While the Life Is Strange franchise has always celebrated diversity, such as with Max and Chloe alluding to having a lesbian relationship by the end of Life Is Strange  if the player so chooses to do so, Double Exposure elevates that status. Bisexual, gay, and trans characters are all in Max’s sphere, allowing for her to explore her sexuality and satisfy her curiosity. Max engages in thoughtful conversations with people from all kinds of backgrounds, and these diversified topics let the player learn more about other people’s ways of living respectfully. Diversity makes us stronger not only because it makes us learn about the many walks of life out there, but also because we learn about others’ struggles to find their identity in the process. Being comfortable in one’s own skin is something that we should all strive for, and for the rest of us to support each other in the process. Image Credits: Square Enix Find Inspiration It is easy to fall into a slump considering how repetitive our lives can become. This is where art comes into play to save us from ourselves. Promise Mascot Agency is a wacky take on an ex-yakuza's exile from the Japanese mafia, with the only way to be accepted back into the fold being by rebuilding the eponymous mascot agency back to its feet. Wrangling real-life mascots akin to Chiitan, this ridiculous premise that balances political issues with personal stakes is an endlessly funny and cathartic experience. Carrying it all in the background is the soundtrack by Alpha Chrome Yayo and Ryo Koike, two abundantly talented composers that mix Tokyo City Pop and older Japanese arrangements to spectacular success.  In a sincere conversation with Alpha Chrome Yayo, I was able to ask how he was capable of creating these songs and staying constantly inspired, especially while working on such a comprehensive album. In his friendly answer, he goes on to express how you need to keep moving not to get stuck in a rut. Sometimes literally, at others figuratively. Finding inspiration is a key element to create, be it by listening to a new song, playing an obscure indie game, or watching a long-forgotten movie.  There are gray days that we cannot wait to be over. While not as drastic as changing jobs or moving across the country, giving new media a try can thoroughly change your perspective. Inspiration might prove elusive, but it’s at least a step in the right direction. Image credits: Kaizen Game Works Smell the Roses As I write this at the end of the year, I am still grappling with the fact that 2025 is over, and time waits for no one. What did I accomplish? Was it enough? Will I ever stop burning the roof of my mouth with a hot slice of pizza? These questions plague my thoughts often, but there was one video game that was a breath of fresh air: Wanderstop. Arguably carrying one of the most important, yet simple, messages of our times: take the time to smell the roses.  Wanderstop, described as a video game “about change and tea,” tells the story of Alta, a renowned warrior in a fictional fantasy land who has pushed herself over the edge. Unable to wield her sword due to physical and mental exhaustion, she finds a tea shop called Wanderstop after collapsing in her search for answers. With the help of Boro, the gentle giant that manages said shop, she learns to brew tea, reminisce about her life, and slow down, as much as it pains her to do nothing . Talking with Jenny Windom , the Communications Director of Ivy Road Games, she confesses that while it was reaffirming to see so many people connecting with Wanderstop, it also revealed an ugly truth: that a lot of us are suffering from burnout and need a break. So this is what I tell you, dear reader: take that day off, learn to say no to new tasks before you are done with the ones you are working on, and focus more on your loved ones. They will thank you. We all deserve a break, now and then. Believe in Your Work Quartet is a retro turn-based JRPG that tells the story of eight characters in a troubled world engulfed in war. You have probably heard this premise before, but trust me when I say it has not been presented like this. Made by the studio Something Classic, Quartet shines thanks to its commitment to authenticity in its grounded narrative and creatively composed soundtrack. Evoking the highs of Final Fantasy VI and similar to Octopath Traveler in its character approach, you would think that this video game, seven years in the making, was always as confident as the final product. But as my conversation with composer Tyler Mire proved, finding Quartet’s  voice was not easy — until it was. Character sprites, arcs, and personalities took time to develop. From their origin stories to how they would interact with each other, their backgrounds ended up informing the player and the world around them. This makes Quartet a highly enjoyable adventure not only due to the stakes raised with every new development, but also because of how different personalities clash and gel as they go along. Tyler mentions Quartet found its essence by iteration and extended conversations with its tight-knit development team. Ultimately, what they found would connect with players — and it did — was believing in their creation and delivering a special adventure worthy of being among the greats. Image Credits: Something Classic Games LLC Ask for Help The subtitle speaks for itself. Asking for help is not easy. It never is. This is heart-wrenchingly portrayed in LUTO, a first-person horror game. Dealing with topics of generational trauma, depression, and suicide, LUTO, or grief in Spanish, is a story that, while harkening back to Kojima’s P.T., creates its own story with a distinct audiovisual background. Protagonist Sam is reliving his everyday life, unable to break the loop when it seems he was simply packing to leave the house. Creative Director Borja Corvo confided in me the ins and outs of the development process, hoping players would be moved by the narrative to ask for help if they ever felt similarly to what was shown on screen. The power of storytelling is not only to make you empathize with the character’s plight but also to hopefully spur you into action when needed. As LUTO progresses, you can see that the protagonist must defy the voice in his head to be free from the shackles of his mind. And just like him, sometimes we must ask for help to break away from toxic patterns that have followed us during our lifetime. Image Credits: Broken Bird Games Learning from each one of these video game developers — who I am sure took more than a little courage to dedicate their lives to such creative endeavors — was a delight. If you are reading this, thank you for taking the time to speak with me. To the ones who reached the end of this piece, I invite you to share any life lesson that a game this year, or any year, has left a mark on you. Because after all, being moved by a work of art is nothing short of a little victory. The concept of Little Victories is not simply to banally celebrate every win without acknowledging the effort that was put behind it, but to actually recognize that every day, without fail, we wake up and we choose life. A gesture of kindness, sharing a meal with a loved one, a long-winded conversation where you lost track of time — there are many examples I can think of that should be celebrated. Life is difficult as it is, so we must not make it harder by being obstinate. There is nothing wrong with celebrating a small win. I, in fact, encourage it. And, as the lessons that I learned by chatting with each of these luminaries can attest to show, they are worthy of praise. Thanks for reading.