It’s difficult for me to picture a game more eagerly awaited in recent gaming history than Hollow Knight: Silksong. Pretty much every Nintendo Direct or Sony State of Play since the game was revealed back in 2019 has sparked a wave of memes in anticipation of a detailed trailer or release date announcement—heck, even Geoff Keighley attempted to join in on the fun.

I was just as thrilled as anyone to witness Hollow Knight: Silksong receive an unexpected release date during Summer Games Fest 2025; however, some of that thrill was diminished by the news that surfaced post-announcement. At the time of writing, at least seven games have seen delays due to Hollow Knight: Silksong’s launch—two of which, Demonschool and Little Witch in the Woods, I was genuinely looking forward to.

As a game journalist and critic, even though I’ve exerted a considerable effort to understand what goes into developing and releasing a video game, I still view myself as an outsider observing from the outside. I keep reflecting on how these studios established timelines, invested years into crafting something entertaining, were likely mentally gearing up for the exhilarating yet terrifying prospect of release, only to have one game completely morph that situation. Imagine holding such power.

This got me contemplating the unhealthy manner in which both gamers and the game industry approach the release of video games and the unsustainable cycle of hype it too eagerly indulges in. It not only seems odd that this is still occurring, but it feels entirely unearned.

I want to clarify that I don’t believe being “hyped” for a game is, by nature, a negative aspect. It’s perfectly acceptable to get enthusiastic about something you find appealing or might genuinely enjoy. I’ve been covering this industry for nearly a decade, and despite knowing better, I’m allowing myself to get enthusiastic about Pokémon Legends: Z-A—it appears quite interesting!

However, I think we frequently let our enthusiasm cloud our judgment regarding it. I once knew someone whose excitement for Anthem was so great that no matter how many times I suggested he might want to hold off—citing countless stories of its troubled development—he was so engulfed in the hype that not only did he purchase it on release day, but he pre-ordered it as well. A week later, he mentioned to me, “You know, perhaps I should’ve waited on it…”

This is anecdotal, of course, but I believe it reflects the issue we’ve witnessed numerous times within this industry—the phenomenon of a game escalating to such immense proportions that it becomes difficult to see anything else. The first one that comes to mind is probably Duke Nukem Forever, a game that was trapped in development hell for close to 14 years, yet continued to remain in the public consciousness due to the name and legacy of Duke Nukem. Jeff Mills actually stated in an article on the old Escapist, “Duke Nukem Forever is an example of what occurs when the hype surpasses the quality of the game,” and this couldn’t be more accurate.

“I don’t recall hearing any stories about games postponing their launch for Kingdom Hearts III, so why was Hollow Knight: Silksong the exception?”

Another instance that comes to my mind is Kingdom Hearts III, a game that also had 14 years of hype surrounding it. Unlike Duke Nukem Forever, however, Square managed to capitalize on the anticipation for the highly-awaited sequel by releasing 12 games in the meantime—though several of these were remakes. Kingdom Hearts III was launched to a decent critical response, but nowhere near what one might anticipate for the eagerly awaited third entry in the Kingdom Hearts series.

Furthermore, the discourse surrounding the game seemed to fade quite rapidly. While I can’t speak for everyone, I honestly don’t recall anyone discussing the game on Twitter a week or two after its release. I noticed this with No More Heroes III as well—despite all the alleged hype, people quickly overlooked it, and even today, not many bring it up.

However, perhaps the most prominent instance of excessive hype and insufficient development is No Man’s Sky. This example stands out the most to me because of how easily everyone was convinced by the game’s concept, with little actual evidence that it could deliver. As I mentioned in my previous op-ed about it, I was surprised that even my former colleague Brendan Quinn—who was typically more cynical than I was—was so captivated by it.

And to me, No Man’s Sky serves as an example of the importance of not repeating the errors of the past. It remains, in my view, a failure of both the institution of game journalism and gamers themselves that No Man’s Sky was

It would be no exaggeration to assert that *Resident Evil Requiem* is among the most eagerly awaited games scheduled for release in the upcoming months. Following eight years of development in gameplay mechanics and environments, the *Resident Evil* franchise is intentionally returning to its survival horror origins with this installment, and it is completely spine-chilling. At gamescom 2025, Capcom provided journalists and fans with an enticing 20-minute sneak peek into what promises to be one of the most immersive entries in the series since *Resident Evil 7*, and my excitement couldn’t have been greater.

The demo unfolds within the cramped setting of the Rhodes Hill Chronic Care Center, where FBI technical analyst Grace Ashcroft finds herself after being kidnapped by an unidentified assailant. Right from the outset, you don’t feel as empowered as in earlier titles. This is not a return to the *Resident Evil 4* power-fantasy style. You are exposed, and the creatures pursuing you are terrifying. This clear limitation instantly reinforces the game’s dedication to vulnerability rather than empowerment, a design principle that has shaped the franchise’s most unforgettable moments.

As the child of investigative reporter Alyssa Ashcroft from *Resident Evil Outbreak*, Grace’s ties to Raccoon City are profound. Remarkably, it manages to connect the larger universe and previous games while still providing an experience that feels refreshingly unique. The demo was short, offering just a glimpse of what the full game could present, but it effectively sets the tone and atmosphere. I haven’t genuinely been startled by a *Resident Evil* game in years, yet I must confess this one is deeply unsettling—and it will certainly make you flinch.

*Resident Evil Requiem* is a breathtakingly beautiful game that portrays the franchise’s universe in gruesome detail. Even in the brief demo, I felt a strong impression of its tone, visual aesthetics, and character dynamics. Running on an RTX 5090, Grace’s performance expresses both emotion and fear with striking realism. When she extracts a needle from her arm, the precision is disturbingly acute, and when she cowers in dread, you can sense the weight of her anxiety.

This version introduces a notable new feature: the option to switch seamlessly between first- and third-person perspectives at any time through the menu. It may appear trivial, but it can significantly modify the gameplay experience—especially when being pursued by something genuinely terrifying.

Yet, the true highlight of the gamescom demo is *Resident Evil Requiem*’s unnamed stalking enemy, which upholds the franchise’s legacy of relentless pursuers, tracing back to Nemesis and evolving through Mr. X and Lady Dimitrescu. What distinguishes this new menacing figure is its three-dimensional hunting behavior, capable of emerging from walls, ceilings, and surprising vertical angles. Its intelligence seems more sophisticated than that of its predecessors, adjusting to player actions and creating a truly unpredictable atmosphere of fear. I won’t deceive you—it is intense. When the creature seizes you, it is unrelenting in consuming you, in all its graphic horror.

Fortunately, this is where the upgraded stealth mechanics in *Resident Evil Requiem* come into play, marking the first time in the series that stealth feels like a thoroughly developed system rather than a temporary escape. As Grace, hiding often feels like your only option aside from becoming prey. Players can utilize environmental cover and shadows, and can even execute silent movements when the chance arises.

The lighter you discover early in the demo serves a dual function: it offers illumination but also poses a risk, as its light can attract the stalker’s attention. This risk-reward dynamic transforms every decision regarding the use of light into a strategic gamble. Even moving when you believe you are safe can result in being caught. It is intense, but also incredibly thrilling.

As seen in many recent *Resident Evil* titles, environmental interaction plays a crucial role in gameplay in *Resident Evil Requiem*, featuring destructible environments and interactive objects that can be weaponized during encounters. We have not experienced this level of intricacy before in a *Resident Evil* game, and it feels like a welcome enhancement.

What truly shines through, however, is how completely realized the world is. *Resident Evil* has consistently provided nail-biting experiences, but the immersion here is stronger than ever. Being drawn into this universe, with its increased interactivity, amplifies the experience—both positively and negatively.

Naturally, given that this is a Resident Evil game, the puzzle aspects are more closely woven into the narrative framework. Rather than acting as arbitrary obstacles to progression, the puzzles in *Resident Evil Requiem* seem crafted to disclose story elements and character histories. The demo’s progression adheres to classic survival horror reasoning—locating item A to unlock item B to gain access to item C—but the execution feels more natural within the game’s universe.

The visual presentation showcases the RE Engine

Exploring the extensive realm of indie games frequently entails overlooking hidden treasures such as “Crushed in Time.” Prior to a preview, I had no idea it served as a pseudo-sequel to the unconventional “There Is No Game: Wrong Dimension.” The sheer quantity of indie titles can occasionally result in a few being missed.

Thankfully, CGM was able to preview “Crushed In Time,” a distinctive point-and-click adventure developed by Draw Me A Pixel. Associate Producer & Communication Manager, Freddi Malavasi, showcased a fifteen-minute demonstration, highlighting a game that stands apart from the rest.

“Crushed In Time” takes place within a game, as a new “Sherlock Holmes” entry is set to release, only for a principal character to disappear, leading to confusion. Players engage with the game world by manipulating its flexible components.

“Crushed In Time is not your typical point-and-click game,” Malavasi noted. Instead of conventional clicking, players swap elements, fostering a novel kind of interaction. The game promotes creative utilization of characters, items, and the environment to unravel puzzles.

During the demonstration, Malavasi illustrated retrieving a key by shifting Sherlock, dislodging his hat, and propelling the key into a keyhole. The game preserves classic point-and-click logic but introduces a refreshing twist, reminiscent of the interactive “Super Mario 64” title screen.

Although still undergoing development, “Crushed In Time” promises to be an enjoyable take on a timeless genre. Instead of solving mysteries throughout various eras, Sherlock and Watson traverse the stages of game development, infusing meta humor into its comedic antics. The humorous dialogue also acts as a hint system, guiding players while keeping them entertained.

“Crushed In Time” aims to build upon the creative concepts from its predecessor, crafting a unique and enjoyable experience. Draw Me A Pixel is set to deliver an exceptional production.