At first the unusual art style and uncanny hand-animated world of The Many Pieces of Mr. Coo feels uniquely captivating, but delve a little deeper and its raw mechanics and unclear puzzle design make for a gameplay experience as fragmented as its protagonist.

Sailing through the Slavic- and Icelandic-influenced world of Selfloss is often a breathtaking sensory experience, but unengaging puzzles, buggy features and an ill-conceived final twist mean its pleasures are largely limited.

Cantaloupe Chronicle is too uneven to make the front page news, but there is some relaxing fun to be had with chasing news stories and overcoming small-town inventory obstacles.

Fans of Firewatch are likely to enjoy this similarly designed walking simulator set in the northern wilderness, though Arctic Awakening’s story fails to bring enough tension or wonderment to match its acclaimed predecessor.

Wormventures: Barrier 51 is a funny point-and-click comedic adventure with challenging puzzles that will surely charm players but can also frustrate with some tedious pacing and lack of polish.

Open Roads is a short but emotionally stirring character drama that is, fittingly, more about the journey than the destination, without so much as a speed bump challenge to slow you down in the latest narrative adventure from the creators of Gone Home.

Even with a bit of open exploration, Saltsea Chronicles is essentially a visual novel – a character-driven, story you read on screens of charmingly beautiful backgrounds. It’s a stress-free piece of interactive media that invites players to help write the unfolding tale, but those looking for deeper gameplay won’t find any swashbuckling, seafaring action in these calm seas.

Desolatium is an unapologetically old-school node-based adventure in the vein of turn-of-the-millennium cult classics like Dracula. Its mix of wildly different art styles doesn’t work as well as it could, but those who don’t mind a bit of pixel hunting will likely enjoy its budget presentation, generally solid puzzle design and atmospheric story.

While Supermassive’s formula is starting to need a bit of a punch-up, and the H. H. Holmes Murder Castle is surprisingly less compelling than the earlier anthology settings, The Devil in Me is still a solid slasher story for horror fans to enjoy.

Paws of Coal is a cute and fun little animal detective mystery, featuring some intriguing deduction puzzles and a whole lot of brilliant writing to read, though it is difficult to overlook the fact that it is just a prelude to a larger adventure and not a complete game on its own.

Skeler Boy is a beautiful micro-sized horror adventure filled to the brim with scares and quirky challenges throughout its short runtime, though it ultimately feels like a compilation of homages that never manages to find a voice of its own.

Bent Oak Island’s budget limitations and lack of polish certainly hold it back, but you can get some good fun out of its twin protagonists’ sibling banter while trying to prevent a summer vacation from ending in disaster.

While there are certainly aspects that work in Hauma’s graphic novel-styled exploration through Munich to unearth a mystery about an ancient relic spanning the ages, the game’s pacing and finicky inventory puzzles demand some patience to get to its best stuff.

Rendezvous offers cyberpunk with a distinctive Indonesian flavour. Its awkward combat and simple puzzles may soon be forgotten, but its gritty story and pungent atmosphere will stay with you.

Don’t Nod spins a thoughtful yarn about friendship and trauma, but Lost Records can’t find the right tonal balance to guarantee a hit.

Caravan SandWitch is a calm, atmospheric journey that’s pleasant to play, but held back by repetitive tasks and a lack of momentum.

Hercule Poirot: The London Case is a mixed bag for fans of Agatha Christie and adventure games. They will be thrilled to put the little Belgian detective through his paces once again, but the mystery itself doesn’t fully satisfy.

Questioning and confronting suspects in Chronique des Silencieux can be very fun if you’re a patient reader willing to ignore the often faulty English translations and some technical issues to really appreciate this intricate detective story set in 1970s France.

Ashina: The Red Witch isn’t an ambitious game, but as a short and simple retro-styled narrative adventure, it is fun and functional enough for a mild recommendation to those who enjoy this style of anime fantasy.

The Last Worker offers an intriguing blend of gameplay elements, but it labours under some dodgy mechanics and questionable design decisions.

Champy the Useless Vampire is a very short and easy adventure game that won’t pose any challenge to the experienced gamer, but its charming cartoon presentation and cozy gameplay might mesmerize their kids enough to try out the point-and-click adventure genre.

A little too unrefined with a bare-bones narrative, After You is nevertheless packed with engaging and demanding puzzles, some of which inspire creative thinking.

Some very pretty and impressive visual production values can’t disguise the fact that Neon Blood’s narrative and gameplay feel far too anemic.

Three Minutes to Eight is a fun game to look at with all kinds of style, though the inherent repetition of time loops is not helped by unfortunate design choices that make it likely this cool experience will wear out its welcome long before you uncover all its mysteries.

The Centennial Case is one of the more ambitious FMV games in years, telling a century-spanning mystery while putting the player in charge of investigating several whodunits. Unfortunately, despite a solid production, there is very little to engage the player and the uneven acting performances fail to make up for it.

Copycat’s linear cozy feline simulator is a far too tame to measure up to its own in-game wildlife ambitions, though its playful yet emotional story might purr its way into an animal lover’s.

The idea behind this quirky anthology of four very distinct anecdotes is commendable, but its blink-and-you-missed-it brevity does not pair well with its already limited chill factor, leaving The Creepy Syndrome feeling not particularly worthwhile.

Centum is full of memorably horrific imagery and atmosphere, but enjoying them means putting up with uneven writing, poor design choices, and a truckload of obscurity for obscurity’s sake.