The second season of The Walking Dead has had highpoints, but in the end it can’t match up against the first season.

Outside of a few mostly inconsequential panel-based vignettes scattered around, and levels that take you from a small town through to a backwoods swamp and then through to industrial and supernatural locales, Forgive Me Father’s narrative is mostly a mystery. In the end it’s hard to look at this as anything but a missed opportunity, where the mix of old and new doesn’t quite come together. The horror aspirations amount to little more than set dressing. Fast-paced shooting is where Forgive Me Father settles, a place where enemies move in predefined patterns and strafing is just about all you need to do to survive. As fun as that can be in doses, there’s little incentive to keep going once you realise that’s all there is.

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.

Fallout 76 is fun to play; the simple loop of scavenging and exploration and crafting and progression works well when you’re in a group. Alone, it gets pretty old pretty fast - especially when dealing with bugs and glitches and performance woes. Ultimately it’s disappointing that the size and scope of the multiplayer doesn’t match the impressive West Virginia you get to explore.

The concept and setting here were ripe for out-of-left-field explosiveness, but due to a lack of direction and capitalisation, and likely a small budget, all we’re left with is a lifeless game that fails to live up to its potential.

I wanted to like this marriage of Warhammer and action-RPG. Really like it. And initially I did, but the honeymoon was over pretty damn quickly. The hotel room was nasty and bug infested. The food invaried and bland. And the wife who looked so radiant on the day, lost most of her appeal when her skills and abilities were found to be lacklustre and severely limited.

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.

The hardcore JRPG lovers looking for meaty Switch representation will froth over this, but as a new entry in the field, Bravely Default II only displays acid rain level nostalgia. It’s the dinosaur they just added feathers to, to make it seem like something new, but really, it’s all the same skeletal system we’ve known and studied already for so long.

Daytona USA sits in the unique position where it suffers not from its faults, but from the perfection of its original design. There was nothing better than being enveloped in those speaker laden seats, inches away from a ridiculously bright CRT screen, friends or strangers seated either side of you.

Korra lacks the heart and extravagance of Platinum’s best work, but it is, at the very least, a step above the absolute dross Activision often releases for licensed properties.

Too often Half-Life: Alyx feels like baby's first VR shooter and for many — especially those who purchased VR hardware to play it — this isn't a dealbreaker. But trading off the Half-Life name for an introductory course to VR relegates HL: Alyx to spin-off territory when the characters involved and the story it tells could be so much more. Alyx Vance deserves better, and so too do VR gamers.

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.

The lack of depth, a good story, and stuff like voice acting makes it all feel a little average. Pulling on your Zelda nostalgia heartstrings to drive motivation, even though the battles are all pretty much the same.

Only worth playing in co-op, where the fluid controls, half decent mechanics, some basic teamwork, and mindless action elevates what is decidedly mediocre into something that although average, can be a lot of fun.

For all the interesting lore and intrigue of the world, most of it is hidden behind layers of library entries that players shouldn’t have to read through.

Minecraft Dungeons has a few bright spots, in its release form it’s highly polished with solid visuals and effects. Outside of the static nature of the environments they’re diverse and cover the range of locations you’d expect to find in this style of experience – from snow-capped mountains to volcanic caves and fortress-like structures. Minecraft Dungeons’ fantasy look is on point. And with the game being moderately priced and a part of Xbox Game Pass – this alone lessens the ‘fun for a few hours’ blow that is Mojang’s take on Diablo. An entry level take on a well-worn genre that after a few hours will have you heading for the exit.

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.

In the end there’s a great game at the core of Diablo: Immortal, and it’s one that looks, feels and plays, exactly like a Diablo game built for mobile should. In expanding the scope to include a robust system of MMO activities, ways to play, and adding many simple progression systems that all feed into each other, what makes Diablo and other games like it so special was lost along the way. Despite the free-to-play mobile design and stingy end-game rewards, I still wanted to keep playing. The tragedy is, Diablo: Immortal didn’t want me to. It wants nothing more than for me to sign-in, play for a few minutes, log-out, and come back tomorrow.

Perhaps if SEGA chose to remaster and re-release the first two GameCube titles, which defined and perfected the core Super Monkey Ball formula - before it’s slow dive into obscurity thanks to Banana Blitz and other titles - we’d be hailing this as a minor masterpiece. Instead what we’ve got here is a HD misfire of a motion-control misfire from over a decade ago.

It’s a tragedy to see Lords of Shadows 2 arrive in this form. Rather than focus on what made the first game so much fun, the designers seem to have totally misunderstood what gamers wanted from the sequel, and delivered something that was utterly alien to the first game.

The biggest disappointment - outside of the narrative, uneven combat, and characters - comes from the expectation and promise found in the art direction, combat, and Soviet-era Russian sci-fi style. There’s a school of thought that when it comes to a review, you should discuss the content of a game versus what it doesn’t have. The logic is sound, if all criticism comes from a place of unmet expectation, that would be unfair. But when something looks this good, you can’t help but wonder what’s missing. At least in those rare moments when the game shuts up long enough for you to think.

Combat that leans a little too heavily in the direction of counters isn’t the only issue here, but it’s the most prominent and one that bleeds into all the other shortcomings.

Contributing significantly to the disappointment are the sound effects - with the guns and explosives sounding particularly underwhelming.

Gear.Club for Nintendo Switch does offer split-screen racing, but again the core racing isn’t all that fun. The best bits are outside of the racing, collecting and upgrading cars, and remodeling and arranging your garage. Which, in case you were wondering, isn’t a good thing for a, you know, racing game.

Dangerous Driving ends up being a Monotonous Bore. An arcade racer that doesn’t do anything particularly new or different. And really, when the crashes look like simple physics experiments from the late-90s that can trigger from the slightest of scrapes – it was destined to fall short of hitting its lofty Burnout spiritual successor goal.

Combine the linear environments, combat mechanics and cut-scenes and it feels more like watching an animated show or even reading a book about it all. If you can get past all this and even find the right stride with the combat mechanics it does make for an interesting storyline and the game gradually expands slightly.

Peggle 2 is an extremely safe sequel, and consequently a bit dull, most of the time.

Le Tour is the sort of monotony that shouldn't come near a videogame, but the developers have banged together a decent, if not flawed title that I did enjoy.