Shadows: Awakening feels different enough, thanks to integrating the idea of character and class swapping into the core design of both the mechanics and story. But even so the by-product of this is more micro-management and loot scrubbing duties placed on the player, that isn’t helped by an overall pace that feels too slow.

One look at the score and you might feel that the The Dark Pictures Anthology has a long road ahead to prove itself, but as is the case with the anthology format - it’s one spectacular or memorable story away from becoming a cult or out-right classic. The format, setting, technology, craft, and interactivity on display in Man of Medan bodes well for the future. What we’ve got here, although replayable, doesn’t quite invoke the sense or feeling or general incentive for you to go back to re-watch or re-play. A so-so debut for a promising series.

Unfortunately, the genuinely entertaining humour, strong cooperative play and a surprisingly great soundtrack of familiar tracks do more to make me wonder about what could have been than push Red River into 'must-buy' territory.

A great foundation that is mechanically sound and will delight in the early hours. Stick around too long, however, and Chaosbane reveals a dearth of classes, enemies and environments. Also a weak endgame.

Are wonderful visuals, brilliant sailing mechanics, and fun activities like playing music and throwing up on your crewmates after drinking too much grog enough? For a few hours sure, but probably not in the long term. What’s here is extremely polished and wonderful to look at. And if the simple joys of sailing through Sea of Thieves gorgeous world clicks with you as it did me, then however long you spend visiting outposts and islands and strange wrecks – will be time well spent.

In the end the fact that most of the different disciplines are fun to play, outweigh the shortcomings. Which makes The Crew 2 a fun, scrappy, but not all that essential arcade racer. If it could somehow reign in the insanity and shortcomings, while providing a real reason to drive around and explore the impressive open-world U.S.A. - especially in co-op – then it could become something special.

Combing two previously uncombined genres results in a challenging, strategic and addictive experience, which makes up for any storytelling shortcomings.

When I Am Alive broke immersion with any number of the aforementioned flaws, which it did far too regularly, it was easy to chastise it. But when it was taking risks and throwing me into tense situations or decision moments, I couldn't drag myself away.

In the end the impressive, but static, visuals and sound design do a lot to put you into the universe. But, at best Aliens: Fireteam Elite is what you play in the arcade before jumping into the cinema proper.

Technical issues aside, Moons of Madness is an experience that we felt compelled to stick with until the end credits rolled – on the strength of the mood alone. Something it has in spades. And it nails the pacing, striking the right balance between moments of quiet, tension, and revelation.

There's a plot in here, but it's all a bit rubbishy, full of stock-standard fantasy tropes and dialog that reads like it was written by an intelligent but under-read tenth grader. All told, the game has a very amateur feel to it.

The separate co-op missions are well worth checking out.

There are a handful of decent ideas here, but nothing within is original. And there's a serious lack of excitement; of tone and transition.

Daemon X Machina goes that extra robo-mile, with one of the best player creation tools we’ve seen in a long while.

Visually the characters, animation, and cinematics benefit greatly from the use of performance capture, and it doesn’t take long for the physical ticks and mannerisms of the three main players to do that thing where they no longer feel like characters in the story - but, real characters. This is the best the franchise has looked from a purely cinematic level. In the end, New Tales From The Borderlands succeeds because it lives up to its namesake and presents the best Borderlands storytelling since the original Tales.

In the end though after, say, 15 or stages or varying length, the action does begin to feel a little repetitive with design that feels decidedly old-school thanks to the complete absence of environmental interaction and movement that is as floaty as watching synchronised figure skating with hundreds of skaters instead of two. But yeah, Warriors Orochi 4 is still a lot of fun to play. A blast even.

It's pretty much unchanged from last year, however. That's the deal with NBA 2K21. If you can find a way to deal with the new shooting mechanism and you don't mind some pretty bad storytelling, NBA 2K21 is great… because it's largely unchanged from last year. Or the year before. Or the year before that.

It’s a shame that the two sides of The Spectrum Retreat don’t really come together, creating a cohesive narrative adventure filled with engaging puzzles to solve. But even though the Penrose Hotel quickly becomes boring to walk through, there’s still a lot to like – from the art direction to the story and the often-wonderful puzzle design.

As a Star Wars fan, Battlefront II is disappointing. As a Battlefront (2015) apologist, it’s sad to see that familiar sins have popped up again, and questionable design decisions mar the fun parts: the campaign, split-screen versus, Heroes vs Villains, Starfighter Assault, and those rare fair fights on Galactic Assault. There’s a good game buried somewhere beneath too many cons. I just hope that Motive, Criterion, and DICE can right the starship before too many players launch their escape pods.

With an expansive story and memorable mechanics, it’s hard not to view Kingdom Come: Deliverance as one of the most interesting RPG releases in years. One where the difficulty is often a barrier to progress and some of the design choices become frustrating experiences in repetition or flat out giving up and moving on to another activity. Or reloading an earlier save to do more sword training. Rough around the edges sure, but the ambition often shines through.

Gorn can be completed in roughly two and a half hours. That runtime is padded out with an Endless Mode and chasing weapon unlocks by appeasing certain in-arena objectives. What I really wanted to see was the asymmetrical Party Mode multiplayer that's in the PC version. The basic gist: mates on controllers can team up and try to do you in using gladiator avatars who all handle like drunk Octodads. Fingers crossed this shows up in an update. For the respectable asking price, I don't think the above situation is a deal-breaker. If you were to go out on a (severed) limb for a speculative purchase, I think you'd find Gorn represents the nicest and red-iest slice of PSVR we've seen in some time.

Croteam have delivered the goods when it comes to the Serious Sam series before, and some of that is peppered throughout Serious Sam 4. From hopping into a giant mech that also happens to be a Pope Mobile to a gun that fires giant cannonballs that can mow down anything in its path. Played in co-op with unlimited respawns and you could even go so far as to recommend it to fans looking purely at that side of the game. But then you remember that the cannonball gun doesn’t show-up until several hours into the campaign, right near the end, and that you had to use a piss-weak pistol for a lot of the time. Shooting at the same aliens from Serious Sam’s of old - in environments that are, well, even uglier than a one-eyed reptilian.

The real lesson here is to stop releasing unfinished games, whether that’s server woes, optimisation issues, immersion-shattering bugs or, as is additionally the case with Battlefield 2042, an undercooked core gameplay offering that would have benefited from at least another year in the oven.

Creativity is all well and good, but it needs a more receptive canvas than what Scribblenauts Unmasked offers.

An ambitious open-world action-RPG from a new studio that does a lot, but doesn’t do a lot very well. In the end it’s finding new weapons and gear, alongside using new mutations and abilities in combat, that resonates. With less filler and more Kung-Fu killer, this could have been so much more -- with less.

You could finish Deadlight in a single sitting and forget about it completely by the next day. Not because the game is actually bad – it's mostly quite enjoyable – but it's too slight and unimaginative to make a lasting impression. It has some nice ideas and sections, but more than anything else it made us want to go back and finish Shadow Complex for a sixth time.

You'll find moments of driving glory nestled among a lot of filler or arbitrary 'story', and it's these nuggets that make you wish for the series to return to its successful past. Or, if you're like me, you'll just look at the game as another entry in a respected series that perhaps takes too much unnecessary precedence over EA's better arcade racing franchise, Burnout.

Calling a game hard usually errs on the side of fact rather than opinion, and there’s no mistaking the spike in Songbringer’s difficulty after the first few dungeons. So, it’s worth mentioning if only just to list that as one of its undocumented features. And to highlight this aspect of the experience for those that tend to struggle with top down combat that requires a fair bit of skill. In the end Songbringer is an exciting, if familiar, take on the old Zelda formula that for the most part plays as good as it looks.