DeVuego

Denshattack! may not reinvent the genre, but it stands out thanks to its unusual charm and surprisingly solid gameplay identity. Its ability to reinterpret such a specific and eccentric theme through fresh, layered mechanics makes it a game worth discovering, especially for those who appreciate bold ideas. Some trial‑and‑error moments and the lack of Italian don’t undermine its overall impact: it’s a lively, surprising experience that enthusiastically celebrates Japan’s quirky love for trains. A short yet intense ride, powered by the same wild energy as its acrobatic convoy, and one of the most memorable releases of 2026.

Hyperwired sticks with you more for its core idea than for everything built around it. Its plug‑linked resource system is genuinely clever — it gives the game tension, rhythm, identity. But around that spark sits a roguelike that doesn’t quite dare enough: it underplays build variety, it doesn’t lean into its own weirdness, it stops just short of fully embracing what makes it unique. The result is a solid, fun, sometimes brilliant experience that still needs a couple of metaphorical welds to turn a successful experiment into something truly memorable.

Manairons becomes a short, atmospheric interactive tale: a dark folk‑tinged fable that sparks wonder even when its gameplay shows its seams. Nai’s flute is a clever idea, the bosses are charming, and the art direction gives real personality to an otherwise simple world. The rough edges in platforming, combat, and technical polish are noticeable but don’t undermine an experience that stays coherent and enjoyable within its modest scope. A small, sincere title that wins you over and proves how even tiny projects can tell stories that linger.

The Last Case of John Morley lives and dies by its script: short, straightforward, and light on gameplay, yet offering a couple of hours of well-crafted noir atmosphere. It doesn’t aim for complex mechanics or technical spectacle, but rather tells an engaging detective story that appeals to fans of the genre. Despite its brevity and lack of Italian localization, its early‑20th‑century London setting delivers a simple yet memorable investigation.

Dark Atlas: Infernum aims high but stumbles where it matters most: gameplay. The lore intrigues, the atmosphere unsettles, and the sound design impresses. Yet players often fight the game itself more than its monsters. Beneath the frustration lies a clear artistic vision, but only the patient will endure instant deaths, cruel checkpoints, and stamina that rivals an asthmatic sloth. Everyone else is better off staying on the surface and letting the lost souls wander alone.

The Cabin Factory is a small indie horror experiment that, despite its simplicity, delivers. It doesn’t reinvent the genre or offer deep gameplay, but it builds tension effectively with minimal, well-crafted elements. A short, atmospheric experience that proves even limited resources can tell a disturbing and engaging story.

Now in its final form, Luto emerges as a compelling psychological horror. While clearly inspired by P.T., it carves out a distinct identity thanks to its deeply unsettling atmosphere. Rather than relying on cheap jumpscares, Luto builds tension through psychological discomfort, supported by a strong narrative, maze-like level design, and masterful spatial audio. Despite its simple gameplay, it delivers a haunting experience that proves psychological horror still has the power to surprise and resonate.

Will MercurySteam now be recognized as the studio behind Blades of Fire? Based on my experience, I certainly hope so. Their new IP offers a challenging and engaging adventure with a distinct identity and well-crafted gameplay elements, particularly its combat system and arsenal management. Its main flaw lies in an overly extended duration, leading to some redundant and less inspired sections that may amplify a sense of disorientation due to certain design choices. Nonetheless, it remains a game with a strong personality, making bold and divisive gameplay decisions that will reward those willing to embrace its nature.

Mika and the Witch’s Mountain is a delightful fairy tale with a brief but enjoyable experience. It combines the core gameplay of Death Stranding with a world inspired by Studio Ghibli. The result is a charming delivery-based game that is visually pleasing and well-made. Worth trying, but don't expect high complexity."

Do Not Open parte da buonissime premesse e riesce, sin dalle battute iniziali, a mettere sul piatto alcune felici intuizioni, capaci di dare vita ad un’atmosfera opprimenti e misteriosa al punto giusto. Peccato che il castello di carte finisca per crollare su sé stesso non appena le meccaniche ludiche ideate da Nox Noctis si prendono la scena, tramutando il titolo in un qualcosa di davvero spaventoso, anche se per i motivi sbagliati. Trial and error esasperato, difficoltà a volte assurda (complici anche gli indizi necessari resi illeggibili da una pessima resa su schermo) ed un nemico che, non appena comparso, rende il tutto frustrante ed ingiocabile, non possono che affossare il debutto del team spagnolo che, pur avendo dimostrato di avere delle buone frecce al proprio arco, ha sicuramente bisogno di affinare maggiormente la propria mira.

Red Matter è un ottimo adventure, forte di un gameplay solido e di una realizzazione tecnica ed una caratterizzazione davvero degne di nota. Vagare per la struttura volgraviana sarà un vero piacere, mai troppo banale e sorretto da una tensione sempre ben calibrata, che non scadrà mai nei jump scare più beceri. Gradevolissimo anche il gameplay, con una serie di puzzle intriganti e che richiederanno una buona dose di acume ed ingegno per essere risolti, con soltanto una longevità un po’ troppo risicata a rappresentare il limite più grande della produzione Vertical Robot. Anche al netto di ciò, se amate le ambientazioni sci-fi e le trame ben scritte, non vedo perché non dovreste dare un chance a Red Matter.