Legends of Eisenwald tries hard to challenge the competition. But as a roleplaying game it is either corny or boring while the turn based tactics are standard respectively borderline uninteresting.

The concept is interesting, but this tower defense with its mobile heroes feels unfinished.

It could have been to Gran Turismo for motorbikes. Milestone can’t capture the fascination as well as Polyphony did over years, while the races suffer technically and in terms of balancing.

Good ideas and a charming presentation are held back by bugs, AI problems as well as technical and control issues.

Of course it looks better than on the old gen consoles a few years back. But the conceptual and mechanical shortcomings are still evident. This serves as a warning in which direction Capcom shouldn’t go with the sequel.

If you can look past the boobs that seem to be moved by hydraulic systems and the sometimes unbearably embarrassing dialogue you’ll find an interesting fighting system that gives Koeis Musou-games a run for their money.

The presentation is almost as boring as the battles, which are too easy most of the time – with the exception of bosses, of course. If it wouldn’t be for the interesting story, this could have been a disaster.

Compared to the similar War of the Roses you get tighter controls and more game modes, but it lacks in entertainment value.

While the presentation of the Australian Open is quite entertaining, the overall experience with its limited freedom of movement and strong focus on automatisms is mediocre at best.

The PC version emphasizes why the once strong franchise failed to impress and rather disappoints in so many areas. Terror, Horror and suspense are gone, while the shooter parts that remain are way behind Crysis 3 or Gears of War Judgment.

Yes, this is an ambitious action adventure with an appealing world. But it is held back by the weak story, fights that lack any real challenge and bucketloads of unsophisticated quests, all of which push it into mediocrity.

The Technomancer tries to make an effort. Almost every aspect that you would expect from a roleplaying experience is there. Multifaceted character development, party-interaction, decisions with consequences, crafting, stealth. But there is not enough quality, everything seems superficial. In the post-Witcher 3 or-Fallout 4 era you have to do better.

At first glance it is fascinating, but the longer you look you'll realize that augmented reality still is in its infancy. Wonderbook shows what potential lies in the fusion of camera, motion recognition and game. And in its best moments it creates something magical – but rather visually than in terms of gameplay.

It should have stayed on mobile platforms. While it is motivating enough to keep you coming back from time to time to hunt for highscores, it lacks variety to fascinate in the long run.

Grueling solo survival with too many bits and pieces as well as unintuitive management and a short exploration leash.

This reboot is not a new but a soulless misinterpretation. It undoubtedly has its moments but they are outweighed by its petty mechanics and superficial treatment of the Thief heritage.

While I am a fan of retro collections, this one is rather disappointing. The games itself are chosen well, but they also show with little to none mechanical progress over the years, why this genre is more or less extinct. And there is hardly enough bonus material to keep you happy, either.

Thanks to the sound design Zombie Studios manage to create a nightmarish atmosphere. But in the end Daylight is no match for Slender or Outlast.

While the campaign feels lackluster and like a prelude to the multiplayer battles, the lootbox lottery that DICE and EA focus on almost knocks out the great fun to be had. They definitely took one step too far into the Dark Side.

More playground than living breathing world. BioWare opens a gigantic fantasy theme park. But unfortunately the only thing that is epic is the amount of content. Story, character behavior, quests and minigames are a mere shadow of the studio's former glory.

A good soundtrack and VR immersion are not enough to outweigh the diffuse storytelling and mostly bland visuals.

The foundation is rock solid and the premise with its mix of city-building and real-time strategy is still interesting. But the execution lacks finesse, while bugs and a steep learning curve take their toll on the motivation.

Shooter mechanics in a world that is a conceptual carbon copy of Dark Soul? In theory it could be interesting, but the execution is lackluster and leaves a lot to be desired.

The quality of the cardboard peripherals is way higher than the quality of the games that come with it.

Solid, but in the end quite mediocre turn based tactics that hasn’t been optimized for Switch.

Technically Let’s Sing is an entertaining karaoke game with interesting modes, but also well-known strengths and weaknesses from yesteryears’ iterations. And the song choice is rather disappointing.

After quite a few systems, dozens of planets and hundreds of scans you don’t feel like a conqueror, but rather like Haviland Tuf from George R.R.Martins novel “Tuf Voyaging”: You’re a collector and explorer. But you can experience truly magic moments in this interstellar Terra Incognita. Nonetheless the fascination fades eventually and is replaced by frustration about the frequent crashes that in the end are effectively killing your motivation to continue.

This is dreary, sometimes plain boring and frustrating. Even if you get into the mechanics thanks to YouTube-videos (!), there are way too many shortcomings.