Limited Run Games and Konami have revealed Marvel Maximum Collection, a game that bundles six classic Marvel 8- and 16-bit arcade games into one package.  The bundle includes several fan-favorites across arcade, Sega Genesis, NES, and Super Nintendo.

Marvel Maximum Collection includes the beloved X-Men Arcade Game, the two-player Spider-Man/Venom games, and even the infamously difficult Silver Surfer. Here’s the full list of games, as well as the various versions of each that will be available:

• X-Men: The Arcade Game (Arcade)
• Captain America and The Avengers (Arcade, Sega Genesis, NES)
• Spider-Man/Venom: Maximum Carnage (Super Nintendo, Sega Genesis)
• Spider-Man/Venom: Separation Anxiety (Super Nintendo, Sega Genesis)
• Spider-Man/X-Men: Arcade’s Revenge (Super Nintendo, Sega Genesis, Game Boy, Game Gear)
• Silver Surfer (NES)

Although some of these titles are co-op brawlers, Limited Run only confirms that X-Men: The Arcade Game supports 6-player online co-op with rollback netcode. Each game in the Marvel Maximum Collection will also include save states and the ability to rewind. The collection also features various display options to make the games look better on modern displays or to replicate the classic CRT look. A music player will let players enjoy the soundtracks from each title, and a digital archive features high-resolution scans of original box arts, instruction manuals, and original advertisements. 

Marvel Maximum Collection is coming to PlayStation 5, Xbox Series X/S, Switch, and PC via Steam. Unfortunately, Limited Run Games did not provide a release window, only stating the game is "coming soon." In the meantime, you can check out our review of the most recent Marvel arcade beat 'em up, Marvel Cosmic Invasion. 

Ninja Gaiden 4’s challenging adventure is being bolstered by new DLC next week. On March 4, a content update called The Two Masters will arrive and will add three new chapters to the main campaign. 

This DLC takes place after the conclusion of the base campaign. A brief trailer for The Two Masters shows Yakumo and Ryu battling new threats, with each ninja wielding a new weapon: a massive scythe called Solitaire for Yakumo and a pair of bladed gauntlets called Jakotsumon for Ryu. These weapons can be unlocked and used even if you're in the middle of finishing the original campaign. 

The Two Masters will introduce new stages, enemies, and trials along with the Abyssal Road, an endurance-based challenge mode. This challenge features 100 unique combat encounters from the base game and the DLC and introduces new enemy mechanics called Special Blood Essence and Frenzied. The new Trials and Abyssal Road can only be unlocked by completing the DLC's story missions at any diffculty. The Two Masters will also add quality-of-life improvements, balancing adjustments, bug fixes to elements such as combat responsiveness, and new weapon set customization options. 

Downloading The Two Masters will set you back $14.99 and is a free upgrade for owners of the Deluxe Edition. It will be available for all versions of Ninja Gaiden 4 across PS5, Xbox Series X/S, and PC. In the meantime, be sure to check out our review of Ninja Gaiden 4 here. Subscribers can also read our Ninja Gaiden 4 cover story to learn more about the game's development history.

Reviewed on: PlayStation 5
Platform: PlayStation 5
Publisher: Sony Interactive Entertainment
Developer: Mega Cat Studios, Santa Monica Studio
Release: February 12, 2026
Rating: Teen

I’ve been following the exploits of Kratos and his terrible, no good, very bad life since 2005. The God of War franchise has maintained an impressive level of action game quality for over 20 years while delivering an engaging, often emotional story. Sons of Sparta doesn’t fill in any important narrative gaps. It does offer a worthwhile look at a point in Kratos’ life before the gods decided to put him through hell (often literally), but the gameplay is frustrating and competing in a genre where it is simply not up to the task.

Sons of Sparta is framed during a time of relative peace in Kratos’ life. His first family is still alive, and he decides to tell his daughter, Calliope, a story from his childhood. An adventure he took with his brother Deimos. Greek-era Kratos is back, with his original voice actor, and for a longtime God of War fan, Calliope and Deimos are characters I have always wanted to spend more time with. Seeing a young Kratos, wholly devoted to the idea of being a good Spartan soldier when his anger and resentment were only simmering and had not yet reached full boil, is a treat.

The narrative and characterizations are where Sons of Sparta shines. Catching little glimpses of the character Kratos will become is charming (he doesn’t think music serves any purpose beyond helping soldiers stay in step, for example). The stakes of the plot are low compared to other God of War games, but I was moved by the ending and learning how Kratos’ Spartan upbringing made him the god he eventually becomes. However, playing the game to get to those story moments is far less compelling.

Sons of Sparta is a Metroidvania – an accurate definition even if you don’t like the term. It’s a genre I love, but also one with incredibly stiff competition. Kratos builds out a map of the world neighboring his home while collecting upgrades as he and Deimos try to track down a lost young Spartan cohort against the wishes of his superiors. Every element of the genre in the game is achieved at a base level or lower. Movement is a little stiff, making platforming feel mediocre. Combat is underwhelming and rarely moves beyond the strategy of getting behind an enemy and hitting them in the back. Alternate weapon upgrades are just fine, but don’t reward experimentation beyond using your standard spear. Fast travel is unwieldy, and though you do get a better option eventually, it is way too late in a game that is simply too long. It does not maintain a consistent pace across its approximate 35 hours (more if you’re going for 100 percent). When I finally got the improved fast travel, I was annoyed that it took so long and did not feel rewarded.

 

Perhaps my biggest annoyance, though, is the general layout and placement of enemies on platforms. When trying to simply climb up a ledge, enemies would often stand at its corner, making it difficult to even get in place to fight them. I spent so much time yelling, “Back up so I can get up there and fight you!” that it made me truly understand why Kratos is such an angry character on a personal level

This adventure also feels cheap in ways that thankfully don’t make gameplay worse, but this is a series known for its impressive production value and attention to detail. I love the pixelated visuals, impressive backgrounds, and seeing familiar God of War elements in a new style, but when Kratos falls into water and simply blinks back into existence or gets stuck in a corner in a looping animation because of bad enemy placement, it just isn’t up to the God of War standard.

For the God of War completionist, there is a story incentive to play through Sons of Sparta. It builds on Kratos’ character well, shows a part of his life we have not had the chance to experience, and there is at least one small detail related to modern Kratos and his son that I am glad I learned. But it underwhelms on nearly every aspect of Metroid-inspired design without outright failing. Controlling Kratos, fighting, and exploring just isn’t particularly fun on a basic level. A just below perfunctory genre experience alongside characters and in a setting I admit I like spending time with.

Score: 6.5

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In the immortal words of CM Punk, it’s clobberin’ time! Join editors Marcus Stewart and Eric Van Allen as they take a tour of WWE 2K26. You’ll get hands-on impressions of the game’s four new match types (Inferno, I Quit, Dumpster, and 3 Stages of Hell), plus quick looks at modes such as Showcase, MyRise, and The Island. We also show off the game’s new battle pass-style Ringside Pass, and, of course, gawk at some Superstar entrances. After checking out the episode, you can read our full hands-on impressions of WWE 2K26 in this preview. 

Reviewed on: PlayStation 5
Platform: PlayStation 5, Xbox Series X/S, PC
Publisher: Capcom
Developer: Capcom
Release: February 27, 2026
Rating: Mature

Resident Evil Requiem is about two people whose lives are forever altered by the worst day of work ever. Those same people then risk it all to save someone. This act is unfeigned, full of the corny sincerity that is a staple of this series, and it is the heartbeat the hordes of undead they will maim are missing. Resident Evil Requiem is also a game about roundhouse-kicking zombies, physics-defying motorcycle chases, and a story that requires years of crisscrossed history to fully understand what transpires. It is fantastic, a revelatory mix of terrifying survival-horror and action that stops just short of being too over the top to dip back into the sentimental humanity of these seemingly everlasting characters. It is goofy, schlocky, and excessive, but it is also a masterclass in refinement, a tour de force of gameplay that arrives only after 30 years of lessons learned. Requiem is Resident Evil at its finest.

Watch Our Resident Evil Requiem Review:

Grace Ashcroft is the daughter of a woman murdered for mysterious but significant reasons. When she is called to yet another murder on a case she’s tracking for the FBI, she returns to the hotel where she watched her mom die. Thus begins a dreadful day in which the comfort of her office computer is a far cry from her journey to the heart of Raccoon City to fight both true evil and rotting corpses whose innocent slumber has been invaded by a virus. Leon S. Kennedy, who might view Grace’s adventure as just another day at work, is ill, racing against the clock to find a cure for something he doesn’t understand. Fatefully, their paths cross, and together, they must save themselves, a girl, and the world – they don’t know who’s pulling what strings, not really, but that only encourages them to keep fighting. 

That hotel, the Rhodes Hill Care Center, sterile-white labs, Raccoon City itself, and the dormant secrets they hold are the labyrinthian playgrounds for what is the new pinnacle of survival-horror. Absurd puzzles involving sparkling gems, search-action gauntlets, and a scavenger hunt for detonator parts, and more color the pages of Capcom’s playbook in Requiem. It is familiar, sometimes to a fault, but it is always exhilarating. 

The shakiness of Grace’s hands in first-person matches the hushed breaths I try to contain on my couch, as if the undead hulking chef, with his machete-sized kitchen knife, will hear me if I’m too loud. The copious one-liners that Leon can’t help saying are the capstones to my laughter after watching a pustulating, walking blister explode into a fountain of blood after I plunge a hatchet into its skull in third-person. 

Whether my walk has slowed to a crawl as I inch closer to a zombie I have to sneak around, or I’m sprinting forward into the horde because I am finally in control of a chainsaw that has haunted me for years, I am in heaven (or maybe hell). 

Just barely surviving the hallways of the aforementioned care center as Grace, desperate to save a girl who could have been her in a different universe, provides the scares and tension I crave from Resident Evil. I don’t care that zombies explode into reborn festering amalgamations of blood and thickened muscle before my eyes. I don’t care that a gigantic woman whose eyes verge on popping like the world’s most disgusting boba relentlessly searches for me. Well, that’s not true, actually. I do care, and Grace does too, of course, but for the sake of this girl, and both her survival and mine, we cannot care – these are our circumstances, and there is no other choice. 

 

Instead of ramping up Grace’s adventures to a comical level of silliness and heroism – an issue I have with the series’ past – her time on screen remains a dreadful march of atrocity, agony, and heart. And just as it starts to feel overindulgent, in steps Leon, just the man for extravagant set pieces with mortar-firing zombies, motorcycle chases, and monstrous boss fights. It’s nothing new for him, after all. Capcom masterfully weaves Leon and Grace’s stories together to ensure her horrors never persist for too long and that Leon’s ditzy drive never overextends its enjoyment. 

I would have welcomed another dozen hours of this back-and-forth with joy, and I am looking forward to optimizing my route through this nightmare to achieve a cleaner, faster completion time. That myriad post-game rewards and unlockables remain after the first playthrough demonstrates Capcom's confidence: it knows I will be playing it again, and again. 

There is such a simple change in the ever-present virus of Requiem, which has plagued Raccoon City and its surrounding mountains for nearly three decades: those who succumb to it retain their memories. Gone are the shambling, decomposed bodies that just want to taste the next living thing their eyes spot. No, these zombies are the soldiers who died with a machine gun in hand but still have a mission to accomplish, the doctors performing surgery who will use their scalpel prowess on you, and the lone police chief still looking for a donut, I assume. This viral change breathes new life into zombies we’ve killed countless times before, as there is a semblance of life within, and every bullet fired is the chance for mercy, finally. It also means some custodial zombies aren’t interested in killing you but rather are desperate to turn off the light you just switched on, and I’m thankful for that, too. 

 

There is little room to breathe in Requiem. Grace cannot stop – she is not Leon and her survival depends on her ability to march forward toward an eventual but unknown escape, even when every cell in her body is screaming for her to turn the other way. 

Leon will not stop – he has a mission after all, and nothing will prevent him from completing it, not even the threat of returning foes he has long thought dead. Those returning foes, and even the return of Raccoon City itself decades after its nuclear fallout, might come across as fan service, and to an extent, they are, by the very nature of their existence. But a delicate hand elevates these encounters and characters to be more. They are reminders of where someone like Leon has been and where he is today; they are callbacks that tease, through history, where Grace’s story can go; they are prompts to inspect internally what Resident Evil means to you. Is it the horror? Is it the action? Is it the characters? Is it the ridiculous lore? Is it Leon’s sculpted jaw and always perfect hair? It is all of these things, and Requiem is in commanding conversation with that mixture throughout its runtime. 

Just as I mix various resources in the crafting menu to see what I get, so too does Requiem combine its various gameplay types, from claustrophobic horror to bombastic action and everything in between. Sometimes the result is familiar – mixing three green herbs still gives you an item that fully recovers your health – but sometimes the outcome is a new thrill of adrenaline and terror Capcom somehow hadn’t yet delivered. 

Requiem is a repose for characters, corpses, and the chronicles of Raccoon City. Requiem is also the name of the laughably large pistol I used to kill yet another mutated nemesis, itself a deformed manifestation of man’s hubris. That duality of the word “Requiem” here speaks to Capcom’s success and the ways in which Resident Evil is finally harmonizing the disparate parts of its past to create a perfectly refined melody.  And now, with its secrets exposed to me and its mazes awaiting my mastery of them, Requiem is also the name of my favorite Resident Evil.

Score: 9.75

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