This game stumbles in ways that even low‑budget horror titles avoid. The core premise of Amy: you play as Lana, a woman trying to escort and protect Amy, a young girl, through a city that’s collapsing under infection. The outbreak turns people zombie‑like, yet Amy is somehow immune to it - even able to heal Lana. It’s a game that blends stealth + survival + escort mechanics as the pair attempt to escape while uncovering the truth behind the outbreak and Amy’s powers. Whatever emotional core the story aims for gets buried under aspects that simply don’t work. Technical issues pile on - frequent glitches and poor frame rates break any sense of immersion. Not only that, but badly placed checkpoints meant needing to restart entire chapters. For all its flaws, you can sense the outline of a more compelling game - the execution, though, is so consistently poor that the experience collapses under its own ambition. By the time the credits roll - if you make it that far - the only real horror is realizing how much time you wasted.

Basement Crawl is the kind of game that makes you double‑check whether your controller is broken or the game simply shipped that way. It feels like a concept sketch accidentally released as a full product. If, for whatever reason, you enjoy case studies in how not to launch a game, this one meets that: * Unresponsive controls: even simple navigation felt like a chore * Technical issues: Crashes and glitches undermined everything * Lack of content: Few modes, limited maps, no meaningful progression * No real substance: A janky, pasted-on horror theme Overall, Basement Crawl is a broken Bomberman-style horror game that’s scary for all the wrong reasons… you know, that moment you realize you actually paid money for it… A solid 1/10, but only because the scale doesn’t go lower.

Outlast is intense. You play as journalist Miles Upshur, who investigates the abandoned Mount Massive Asylum after receiving a mysterious tip. He breaks into the asylum at night, finding it in chaos with dead staff. The game leans hard into found‑footage aesthetics, using your camcorder’s night vision. That means you'll be viewing a lot of the world through a bright-green lens. Notably, Outlast also strips you of weapons entirely. So you’re not fighting monsters; you’re surviving them. That design choice makes every encounter feel like a chase scene from a horror film. Where the cracks begin to show: * Repetitive: Many encounters follow similar patterns * Predictable: You can often sense when a scare is coming * Limited: The run‑hide loop can feel overdone at times Verdict: Outlast is a visceral experience that excels at what it sets out to do: make you feel hunted. Its mechanics don’t have the most depth compared to other horror games, but its atmosphere and intensity make it a standout in the genre.

Few games in the last decade have generated the kind of anticipation that Elden Ring did before release, and even fewer have managed to meet - let alone exceed - that level of expectation. FromSoftware’s collaboration with George R. R. Martin promised a sweeping dark‑fantasy epic, but what arrived was something even more ambitious - cementing it as one of the defining titles of its generation. Notably, the story of Elden Ring is told in fragments - item descriptions, environmental clues, cryptic dialogue, and the occasional cutscene. While some players may wish for a more straightforward narrative, for me, Elden Ring’s approach reinforces the game’s sense of mystery. Most open‑world games also overwhelm you with icons, quest markers, and nudges. Elden Ring does the opposite: it gives you a massive, handcrafted world then quietly says, “Go. Figure it out.” That level of trust creates: * a stronger sense of ownership over your journey * more memorable discoveries because you found them yourself * rewarding boss encounters, where every victory feels earned * a world that feels mysterious, not over‑explained Verdict: Elden Ring is the kind of game we’re sure to look back on as a title that moved its genre forward. A must-play.

The Elder Scrolls IV: Oblivion Remastered arrives in a gaming landscape transformed by decades of innovation. When The Elder Scrolls IV: Oblivion first launched in 2006, it redefined what an open‑world RPG could be. A remaster of such a beloved classic carries enormous expectations - yet it succeeds far more often than it stumbles. A breakdown of what’s been improved vs preserved: Improved: - Visuals: Daedric realms - especially Oblivion gates - look more menacing - Leveling: Point additions are no longer limited by your Major Skills - Movement: In the original, you could run or walk - now you can sprint - Menus: Modernized, yet familiar, UI feels more navigable Preserved: - Exploration: The open‑ended, go‑anywhere philosophy remains intact - Quests: true to the original - same story, just better quality of life - NPCs: While refined, NPCs still have the same odd but endearing quirks Oblivion Remastered is a lovingly crafted restoration that brings a classic into the present while preserving its heart. For newcomers, it’s a chance to experience a foundational piece of gaming history in its best form yet.

Mysterium is like a séance in a box. Set in a haunted mansion in the 1920s, players act as psychic investigators, working together to solve a murder mystery. One player gets cast as the silent ghost of the victim, trying to communicate the details of their murder. The ghost can only speak through vision cards: abstract, painterly images that hint at the killer, crime scene, and murder weapon. Investigators must interpret these clues, debate their meanings, and reach a consensus before time runs out. In that way, Mysterium is the kind of game that makes quite a first impression: a spooky theme and novel premise, with gorgeous artwork. Beneath that surface, though, lies a game that’s more style than substance. At times, its narrative logic feels confused, its clairvoyance mechanic feels arbitrary + repeated plays can lead to meta-gaming. So while Mysterium is a must-play for fans of the supernatural - for me, it’s a game that’s somehow more impressive on the shelf than on the table.