Drag X Drive comes at an interesting time in the launch lineup for the Nintendo Switch 2. Rather than numerous day-one first-party releases that may risk overshadowing each other, the company has been releasing them one at a time, monthly. First we had Mario Kart World--alongside Nintendo Switch 2 Welcome Tour, which kind of counts--followed by Donkey Kong Bananza, and now, Drag X Drive. The unconventional sports game is unique in the lineup for not centering around a known franchise. Instead its hook is an almost exclusively multiplayer focus and a novel control scheme based around the system's mouse functionality. But while it's a neat showpiece for how dual-mouse controls can create new game experiences, in practice it's mostly just physically uncomfortable to play.

Drag X Drive follows in the footsteps of games like Rocket League, mixing various influences to create something new. In this case, its closest analogue is wheelchair basketball, a Paralympic sport that allows disabled athletes to play with some modifications. It adds a slight twist to that foundation, though, by taking place inside a skateboarding bowl, allowing players to build up speed and do trick shots to earn score bonuses. It's a neat concept, and one that could pay homage to the athleticism of the real thing while giving it a wild variation. The hub area even has the look and feel of a basketball skate park, with courts living alongside loads of ramps and stunt areas.

The real hook is its control scheme. While other games have made light use of the Switch 2 mouse controls, Drag X Drive is centered completely around it. You detach both Joy-Con controllers and turn them on their side, and sliding them forward together approximates pushing the wheels of your wheel chair. Doing it in rhythm for a while gets you up to top speed, which is what enables your ability to vert off ramps and do tricks, or just rush into other players for a tackle to steal the ball. You lift a hand and flick your wrist to toss a ball into the basket, and tackling a player from the side or back staggers them for a moment and can throw off their attempted shot. Pressing the shoulder buttons acts as your brakes, and the HD Rumble feature lets you feel the tread of the tires as you roll. In theory, you can even pull off hairpin turns by braking with one wheel while pushing the other, or sliding them in opposite directions.

The Madden curse is lifted.

No, not that one--the one I alluded to at the end of my review last year. I'd said it felt like I was cursed to play a frustrating football game year after year forever, because I liked it enough to invest my time (if only for my job and my online league), but I never felt like it was living up to its responsibility as the only NFL sim available on the market. Madden NFL 26 finally gives me hope. Supplementing the great on-field gameplay with a Franchise overhaul that turns Madden into a sports RPG in the way it should be, this is the best Madden in a long time.

Sunday Spectacle

Madden's on-field gameplay has been improving year over year for a good while now. It's not that it can't improve any more, but it's finally in that stage, like some other sports games have reached before, where the foundation is sturdy and, with the most important aspects in a good place, the development team is now focusing on enhancements more than fixes.

The Mafia series has always been an outlier in the open-world action genre. While the 2002 original could have easily been written off as another Grand Theft Auto clone, Mafia and subsequent titles in the franchise carved a niche for themselves by being narrative-driven experiences built around a specific time and place. Empire Bay from Mafia 1 and 2 is an amalgamation of Chicago and New York created to capture the feeling of 1930s and 50s gangster culture, while New Bordeaux from Mafia 3 attempted to depict the Vietnam-era in the south. Mafia: The Old Country successfully continues this trend with its depiction of Sicily in the early 1900s, but is ultimately held back by its shallow mechanics and dated design.

Mafia: The Old Country follows Enzo Favara as he falls in with the Torrisi Crime Family. After fleeing the sulfur mines, Enzo is saved by Don Torrisi, a soft-spoken and enigmatic mob boss that sounds like another very famous soft-spoken crime lord. Torrisi sees potential in Enzo and puts him to work at his vineyard where he meets Luca, a mentor-like figure to Enzo; Cesare, Don Torrisi’s hot-headed nephew; and Isabella, the Don’s daughter with whom Enzo has an instant connection. Throughout the course of the 12-hour story, Enzo sinks deeper and deeper into the criminal underworld. It’s a fairly predictable mobster story that’s elevated by strong characters, great performances, and thoughtful writing.

That said, Mafia: The Old Country’s cast doesn’t make the best first impression. Enzo is very quiet and standoffish in the early hours; Don Torissi, at times, sounds a little too much like Michael Corleone; and Luca--despite being one of my favorite characters by the end--comes across as just another rank-and-file mobster. Fortunately, after the first couple of chapters, their personalities start to come through more strongly. This is especially true for Luca, who helps guide Enzo through his new life within the Torrisi family. Meanwhile, Cesare develops beyond a simple hothead as he struggles to live up to his uncle’s lofty expectations. The only exception to the slow burn of character personalities is Tino, Don Torrisi consigliere. Portrayed by Anthony Skordi, Tino makes a chilling impression out of the gate and frequently steals whatever scene he’s in.

Like the best revivals, Ninja Gaiden: Ragebound feels like it could've come from a different era. Crafted by Blasphemous developer The Game Kitchen, Ragebound is a deliberately old-school action game that captures the essence of the classic Ninja Gaiden series, with sharp gameplay, challenging levels, and gloriously retro visuals and music that would feel right at home on the Super NES. It also builds upon this foundation with some smart new mechanics, making it more than a mere imitation of earlier games.

Rather than putting you in control of series mainstay Ryu, Ragebound follows two new protagonists: Kenji Mozu, an untested trainee of the Hayabusa Clan; and Kumori, a mysterious kunoichi from the rival Black Spider Clan. When Kenji steps in to save Hayabusa Village from a sudden demon onslaught, the pair's destinies become entwined and they form an uneasy alliance, using their combined abilities to stand against the demonic forces threatening the world.

Like so many other aspects of the game, Ragebound's plot is pure Ninja Gaiden: scattershot, nonsensical, and ultimately inconsequential. In their quest to stop the Demon Lord from being unleashed, Kenji and Kumori travel to various sites throughout Japan, battling grotesque monsters, commandeering the occasional vehicle, and eventually becoming entangled in the CIA's affairs. It's knowingly silly stuff, and it affords the developers plenty of opportunities to whisk players through a range of memorable set pieces, from ancient Japanese villages and castles to busy construction sites, flooded pirate coves, and secret military facilities.

Dead Take feels more like an artist's point of view of the unsaid traumas and private despair that plague the lives of actors than a horror adventure game. It is still very much a video game driven by rewarding puzzle mechanics, but the meat of the experience is the insight it gives of what it can feel like to be an actor. It's altogether more disturbing than spooky, and although certain supernatural elements do dampen the puzzle box nature and horror of the overall game, Dead Take is still a powerful, emotion-driven descent into one man's psyche.

Experienced entirely in first-person, Dead Take has you play as an actor named Chase who breaks into and explores the seemingly abandoned mansion of Cain, a famous Hollywood producer. There are signs of a party, but all the lights are off and an eerie stillness hangs over the darkened hallways and strangely shaped rooms. Chase is looking for his friend, Vinny, another actor, who successfully landed the role of Willie in an upcoming movie--a role that Chase had also been gunning for. As you guide Chase through the mansion, you'll slowly uncover what transpired behind the scenes during the movie's pre-production, learning how so many people's lives were destroyed in service to the damaged and traumatized ego of one man.

It's a haunting tale brought to life by full-motion video (FMV) recordings of powerhouse actors in the industry. Neil Newbon gives Chase an almost psychopathic desperation to his need to land the role of Willie, while Ben Starr hides Vinny's nepotism behind charismatic suave and charm to produce a completely different type of creepiness. The unnerving and disgusting battle behind the scenes to determine the leading lady opposite Willie and cover up a "problematic" woman for a more "agreeable" one is explored through the fantastic (and subsequently, deeply uncomfortable to watch) performances of Alanah Pearce and Laura Bailey. And at one point, Jane Perry delivers a performance of Cain's wife so powerful and deeply chilling, I doubt I'll ever forget it.