Capcom has consistently pushed the limits of horror, but with Resident Evil Requiem, it appears they’re intent on making us feel uneasy in a manner that emphasizes raw, unfiltered fear over combat. Following a thirty-minute presentation, it’s apparent: this isn’t merely another return to Raccoon City; it’s a plunge into a realm that’s colder, more anxious, and profoundly personal. I can’t shake the thought of it.

Slated for release next year, Resident Evil Requiem is already setting itself up to be one of the most unsettling entries in the franchise, not solely due to the grotesque creatures or the return to a nuclear-devastated Raccoon City. The crucial transformation comes from the viewpoint—not just the camera angle, which players can switch between first and third-person at will, but in the narrative tone and the emotions Requiem aims to evoke. The key term here is helplessness. It masterfully encapsulates that feeling in every breath and misstep made by protagonist Grace Ashcroft.

Grace is not a gun-wielding action hero. She doesn’t resemble Jill Valentine or Chris Redfield. Instead, she’s a terrified FBI agent who regains consciousness strapped upside down to a hospital bed, injured and utterly confused. Her breathing is ragged. Her footsteps echo ominously as if an anvil has fallen on the ship deck. Her voice quivers, perpetually teetering on the brink of panic, as if each step could be a blunder. It’s unsettling and at times draining, but that’s the intent.

“Resident Evil Requiem doesn’t merely simulate fear; it enforces it.”

Indeed, the heavy breathing and pained gasps may become grating over time, and the thunderous footsteps might feel engineered to shatter eardrums, but there’s a purpose behind this chaos. Resident Evil Requiem doesn’t just simulate terror; it enforces it. The game endeavors to make you feel overexposed, vulnerable, as though every action is a risk. It wants your head to throb a little. At least, that’s what I gathered.

Fortunately, you are not confined to that stifling first-person perspective the whole time. At any moment, players can access the pause menu and switch to a third-person viewpoint, a feature we eventually saw in Resident Evil Village’s Winters Expansion DLC. It’s not merely a gimmick, either. It significantly alters how you perceive Grace and your environment. The third-person view allows for a bit of distance and detachment, providing a much-needed breather from the suffocating intimacy of the first-person perspective, particularly when you’re fleeing from the massive creature that pursues Grace through the dilapidated corridors.

Speaking of that creature, it’s a grotesque, towering woman-beast with hands reminiscent of catcher’s mitts and an aura that evokes nightmares. She doesn’t just pursue Grace; she consumes her prey and disrupts the area they inhabit in the demo, chasing her and cutting power to the lights, forcing Grace to traverse through darkness once again. One moment in the Resident Evil Requiem demo unfolds like a horrifying exhibit: the beast lifts a corpse and tears into it. It’s a gruesome, visceral scene, and the animation is so expertly done that it approaches the line of being offensive.

Much of the Resident Evil Requiem demo hinges on this kind of tension. You’re not constantly under attack, yet you never feel secure. Most of Grace’s time is spent trying to figure out her location, flicking nonfunctional light switches, searching through drawers for keys and fuses, and glancing into shadows that seem deeper than they ought to be. The environments are dimly lit, often by red emergency lights that cast a blood-like hue over everything. The facility she’s trapped in is decrepit and claustrophobic, filled with narrow corridors and locked doors. This embodies classic Resident Evil but viewed through a perspective that feels more psychological, suffocating, and quiet—at least until it isn’t.

When violence occurs, it strikes hard. An infected body tumbling from a doorway represents the closest thing to a jumpscare we encountered early in the demo, and even that is overshadowed by the reveal of something far more monstrous lurking behind it. Grace does not retaliate, at least not in this segment. She flees. If you’re seeking shotgun-blasting action like in Resident Evil 4 Remake, that hasn’t been presented so far. However, if you appreciate the slow, dread-filled panic of Resident Evil 7, you’re in your element.

Nonetheless, that doesn’t imply Grace lacks efficacy. We’re told she has training; she is, after all, an FBI agent, and this comes through more in how she manages herself under duress rather than through combat. A syringe supplants the traditional green herb as the primary healing item, instantly

Nintendo has made an unexpected reveal with the announcement of the very first Splatoon spinoff game, Splatoon Raiders, set to release exclusively on the Nintendo Switch 2. This revelation came alongside a complimentary update for Splatoon 3, presented through a video named “Research Report from Squid Research Lab.”

Rather than proceeding with another numbered installment in the Splatoon franchise, Nintendo has unveiled Splatoon Raiders, a spinoff that invites players to embark on an adventure across the enigmatic Spirhalite Islands. Players will take on the role of a mechanic, teaming up with the Deep Cut trio—Shiver, Frye, and Big Man—as they set out on their quest. The teaser video showcases the trio traversing the Spirhalite Island, pursuing a yellow beam shot into the sky, although it does not disclose much regarding the gameplay or the islands themselves.

While the teaser leaves plenty to speculate about, it suggests that research is still in progress, indicating that fans may need to be patient for a release window. In the meantime, the free update for Splatoon 3, scheduled for release on June 12, will be accessible on both Nintendo Switch and Nintendo Switch 2. This update presents the Splatlands collection, featuring 30 new weapon kits with innovative designs and a variety of sub and special weapons.

Furthermore, the update affirms that Splatoon 3 players will have access to cross-play between the Nintendo Switch and Nintendo Switch 2. However, additional details about Splatoon Raiders will be disclosed in the near future, keeping fans eagerly looking forward to the new spinoff.

It should likely go unsaid that when I first encountered *Mouse: P.I. For Hire*—originally just called *Mouse*—I was instantly captivated. It was yet another one of those titles that appeared on one of my social media feeds, and I was enamored with its concept. I’ve previously noted that I’ve genuinely enjoyed the fusion of 2D characters within 3D settings, as seen in games like *Demon Turf, Ruff and the Riverside* and *Forgive Me Father.* However, *Mouse: P.I. For Hire* truly elevated this idea.

With [Summer Game Fest](https://www.cgmagonline.com/news/summer-game-fest-2025-every-announcement/) being as hectic as it is, CGM couldn’t sit down with Fumi Games directly to delve deeper into *Mouse: P.I. For Hire,* but the team kindly shared with us some initial footage of the game in action, and I must admit—it’s quite a progression. What began as a relatively simple shooter with an amazing aesthetic has evolved into something remarkably creative and ingeniously original.

The gameplay video we were presented with showcased Jack Pepper—the main character, voiced by none other than [Troy Baker](https://www.cgmagonline.com/news/death-stranding-2-a-10-minute-trailer/)—tracking a lead to an old Opera House where it appears a mayoral candidate is about to become the target of an assassination. Jack must fight through a horde of thugs to prevent this and uncover his next clue to solve the case.

What was immediately compelling about the demo was how it appeared to display more than the typical combat—which has been the focus of several of the game’s pre-release trailers. While it may still embrace the rather conventional level structure found in many classic FPS titles, it almost hinted at gameplay that could suggest *Mouse: P.I. For Hire* might incorporate some Immersive Sim elements.

### “Though it’s still a bit away from launch, it’s incredible to see just how much *Mouse: P.I. For Hire* has progressed in its development.”

As players approached the Opera, they were presented with the option to bribe one of the waiters for discreet access inside without causing a scene, or they could potentially gain entry through the air ducts. Additionally, it featured a brief moment where Jack snapped a picture of some suspicious activity, implying there may be aspects of mystery-solving in this game. While it wasn’t extensive, it would fit perfectly with the game’s Noir theme, encouraging players to explore, gather clues, and tackle situations from diverse angles.

The combat itself appeared extremely tight and thrilling in a manner reminiscent of many classic shooters. Confined spaces and numerous adversaries will keep players alert, and they’ll need to take advantage of a wide array of traditional and unique weapons, as well as the environment itself—explosive barrels can provide a tactical edge.

But naturally, the centerpiece of the trailer was witnessing the game’s stunning aesthetic come to life. It’s a method that dates back to the Nintendo 64 era—utilizing a 2D object that consistently faces the camera. Nonetheless, Fumi Games has dedicated an incredible amount of effort to capture the essence and style of classic cartoons in an enjoyable and imaginative manner. From the way Jack acquires new weapons in a manner that’s both realistic and whimsical, to the manner in which those weapons bounce around as though made of rubber, to the amusingly exaggerated enemy demises—think more *Itchy and Scratchy* than *Steamboat Willie.*

And the ingenuity of *Mouse: P.I. For Hire* is evident in the weapons themselves. Although the demo showcased several that are quite typical for the Noir genre, the one that truly stood out to me was the Turpentine Gun. I couldn’t help but chuckle at a weapon that, in any other shooter, might simply have been a Plasma or Acid Gun, yet here it employs a chemical specifically meant to dissolve paint. It was this little nuance that truly had me eager to see what other playful interpretations *Mouse: P.I. For Hire* would explore with its premise.

While it’s still a bit away from launch, it’s amazing to see just how far *Mouse: P.I. For Hire* has progressed in its development. It serves as a solid reminder that even games that seem simple in genre can be transformed into something far more impactful through an imaginative concept. [Titles like this](https://store.steampowered.com/app/2416450/MOUSE_PI_For_Hire/) are why I’m always emphasizing the [Indie](https://www.cgmagonline.com/news/sg) scene.