Some of the fights seem too repetitive but many of the game’s shortcomings are made up for by its fantastic atmosphere of the original anime. [03/2020, p.60]

Most of the time the gameplay is irritating, sometimes it just makes you mad. And it’s a shame because the developers do try to take the sport quite seriously with all the different authentic game mechanics. [03/2020, p.59]

I value the game for its non-linearity and many endings but mainly for the gravity of its theme and how the history – unpleasant as it is – was depicted. [03/2020, p.56]

Exceptional dialogue served even in most exquisite forms (mini-games, different perspective, mixed chronology) are still not enough for the story to be compatible with this medium or to be worth telling altogether. The result is slow and difficult to ingest and sometimes even unpleasant in its archaic mechanics. [03/2020, p.54]

Darwin Project seems mediocre at first glance but after just a few matches it becomes apparent that it is a surprisingly fresh shooter that offers experiences unheard of by its competitors. [03/2020, p.52]

There’s nothing in Reforged that keeps me hooked in. I was sad playing it. Sad that it ultimately failed. That there are so many things that could have been done better – boldly and with more polish. [03/2020, p.48]

Many of the game’s features are limping like a maimed BattleMech but it doesn’t let down in the most important aspect – the one Piranha Games apparently feels the best in – dynamic, satisfying ‘Mech combat. [02/2020, p.52]

The moment when the puzzles get really interesting, the game unfortunately starts to wrap itself up. A fun but short experience. [02/2020, p.67]

The AI is ridiculous, the gameplay is janky, the graphics are mostly grayish and the tracks are rather empty. It’s a game neither for Garfield fans nor for karting enthusiasts. [02/2020, p.66]

For an almost 10-years old grandpa of a game Halo: Reach still stands strong. It’s Bungie’s best Halo and a fitting goodbye with their own franchise. [02/2020, p.64]

A really creative and polished flipper. Unfortunately the lack of any other tables than the one kills any will to go back to it after a break. [02/2020, p.62]

It’s more a fitness suite than game but it’s the ‘game’ part that draws the players in – and does it quite well. Right now it might be the best invitation for the players to get up from the couch and just move. [02/2020, p.60]

With the feeling of movement, fantastic graphics and varied gameplay – it’s a one crazy journey through imagination. [02/2020, p.58]

The gameplay features are so modest that you know everything you will be doing in the game just 15 minutes in. [02/2020, p.56]

A paradise for train enthusiast although it doesn’t seem to follow modern city builder and tycoon trends. Some of the game mechanics were simply derailed. [02/2020, p.50]

It’s rather short but as long as there are some apartments to left to be (re)done, there’s a potential for some good fun. That’s a kind of home makeovers I can get behind. [02/2020, p.49]

The new Darksiders’ top-down perspective may actually be my favorite of the series. The game has its flaws but looks great, sounds absolutely fantastic and offers both dynamic gameplay and some interesting environmental puzzles to spice everything up. [02/2020, p.46]

The game induces sleepiness here and there because of its low tempo and repetitiveness but it does so for a reason. It helps that the art style is both flexible with color tones and insanely modest. [02/2020, p.45]

It was made with true passion but at the moment it’s unpolished and unbalanced. The ambitions of Julian Gollop and his crew were clearly bigger than the game’s budget. [02/2020, p.38]

As a person who was raised on Age of Empires I was satisfied with every aspect of the remake. Small missteps didn’t spoil the fun and the addition of new nations only deepened my love for the series. [01/2020, p.82]

Despite rather average controls and a few stretched out moments Luigi’s Mansion 3 remains one of the best Nintendo games of 2019 – and a proof that vacuuming can be proper fun. [01/2020, p.80]

The level design changes between exceptional and mediocre which is rather disappointing for a 6-hour long game. It was a pleasant experience overall but its potential dwindles before it has a chance to make a proper impact. [01/2020, p.79]

Everything in the game is unpolished and once again there is absolutely nothing interesting storywise; no mystery and no lead concept that would let the players explore the world by themselves. It’s the same level design, same designers’ tricks and the same sub-par balance which I know all too well form the previous games. [01/2020, p.76]

It’s a quite nice puzzle game with a quirky character and visual design but also which doesn’t actually stand out in any meaningful way. [01/2020, p.74]

The gameplay covers the basics and not much more. It’s a colourful but visually simplified game; offers a slightly engaging and quite repetitive gameplay. [01/2020, p.73]

Although I still do follow the World of Warships PC scene, I find more pleasure in comfort of the ‘lightweight’ console version. Especially now, with crossplay between PS4 and Xbox One which guarantees quick matchmaking either in standard or ranked battles. [01/2020, p.72]

It’s a game practically devoid of mechanics, with much of its weight revolving around storytelling. The Travel Stories build a bridge between a game and a book; between the literature of truth and fiction. [01/2020, p.69]

It’s a time travel which proves that now we live in better times. Those who understand how important the series was for the development of open world games, the ones who were raised on Shenmue I and II, will have a better time with it. Will it be a good time, though? I’m not sure. [01/2020, p.68]

All the game’s activities are painfully repetitive and simply dull. There is educational value in it and the kids should have a good time getting to know the bee world, sure, but the rest is very so-so. [01/2020, p.66]

I played the game almost non-stop for several days and I feared that after this kind of marathon I will forever hate it but it didn’t happen. Planet Zoo educates and entertains – in marvellous scenery to boot. [01/2020, p.62]

It’s a festival of good and interesting ideas that were drowned in boring grind, features borrowed from Forza Horizon, and reggaeton. [01/2020, p.60]

I still don’t know if I pulled all those all-nighters with the game despite its bugs because of my Stockholm syndrome or because it’s really that good. [01/2020, p.59]

Approach cautiously. Even if you like challenge, there will be times you won’t agree that the loss is your fault. Ugly visuals also don’t entice but the fantastic music, on the other hand, does so. [01/2020, p.57]

Boasts about all of its additional mechanics but it doesn’t quite pull off being a regular shooter while looking like from a decade ago. [01/2020, p.56]

A complete, very well put together experience in which story, visuals and music blend into something exceptional. [01/2020, p.55]

The puzzles, although repetitive, never stop encouraging the players to think. The game enchants with its visuals which are complemented by a truly masterful soundtrack. I am not going back to it after finishing it though. [01/2020, p.54]

If it weren’t for the swarms of technical bugs that ruin much of the gameplay experience, it would be an exceptional tycoon – deep, innovative and simply fun. [01/2020, p.52]

There were moments when I really enjoyed the game. I especially liked the animal cast and the creative way in which the developers play with the detective story genre. [01/2020, p.50]

The 2020 edition is as engrossing as always... but also as irritating as never before – in part because of the quite appalling match engine. [01/2020, p.46]

Fallen Order is a must have for Star Wars fans and the best Star Wars game in years. Both literally and figuratively: the Force is strong with this one. [01/2020, p.42]

After ignoring the lackluster graphics and when the game failed to annoy me with a bug for the last 15 minutes, I did have some fun with it. The series is still experimenting and looking for its identity, and yet falters when it comes to basics. [13/2019, p.42]

What it lacks in storytelling, it makes up with sheer brilliance in something far more important – the gameplay that pushes the 2D platformer genre to its limits. The game sparkles with creativity and the developers’ clear love for games. [03/2019, p.82]

The temperature of the gameplay dropped – not only thanks to the new winter map. The technical side of the game has always been its Achilles’ heel and the standard PS4 version reminds of it quite brutally. [03/2019, p.81]

It’s a very intensive and addictive experience – although it doesn’t get in your head as well as Hotline Miami, nor has it comparably good soundtrack. It’s a game put together from other people’s ideas which simply go well together. [03/2019, p.80]

Eight years after the original this sexy horror didn’t even get one wrinkle! It’s worth to give it another chance even if you’ve scored with Atlus’ work before. [03/2019, p.79]

I don’t have a slightest clue who for and why was this game even made, but on the other hand I simply have to appreciate the big heart which was put in it. [03/2019, p.77]

Solar Sails’ debut captivates mainly with its atmosphere and graphic style – similar to the most interesting works of Zoink! and Image & Form. And that is why, despite some of its shortcomings, I ultimately spent three pleasant evenings with it. [03/2019, p.76]

A miniature work of art, full of radiant colors. A pixel perfect animated film. Unbelievably well polished. A candidate for the biggest surprise of the year. [03/2019, p.74]

A simple venture into the world of medieval economy. Ultimately – a very hollow but also unbelieveably hypnotizing experience which put me into a ‘machine gameplay mode’. Who knows, maybe that was its actual message? [03/2019, p.73]

A simple but challenging platformer made for speedrunners and masochists. For anyone else it could be a novelty – too frustrating to spare more than a little time for. [03/2019, p.72]

At the Gates would need another year of fixes in Early Access to be relevant. As of now it’s a true diamond which never got the chance to shine. [03/2019, p.71]

Slay the Spire proves that tactical games can glue the player to the chair for long hours without depriving them of mental comfort. At this moment Mega Crit’s debut doesn’t seem to have any competition – neither in the card game genre, nor in the roguelike. [03/2019, p.68]

Big Bad Wolf did what Telltale Games’ works promised but could never deliver. A true revelation in the world of non-linear adventure games. [03/2019, p.66]

I would love to love this game but more often it was irritating me than genuinely moving. The game has a lot of innate warmth but is was designed badly. [03/2019, p.62]

My infatuation with the game didn’t fade after tens of finished levels. And even if it’s safe to say that it looks like Poly Bridge’s winter DLC, the developers introduced so many innovations to the genre that every bridge builder fan will surely love splattering the innocent skiers blood on the snow. [03/2019, p.60]

I doubt that Everything could be of interest to anyone who isn’t already a gamer – or win over someone that doesn’t agree with its message. For it the game itself is too weak. And although I spent a pleasant evening with it, I won’t come back because there isn’t much to come back to. [03/2019, p.58]

The newest Ace Combat is a good game overall and may be the prettiest and best sounding in the series but nearly all of the rest of its features are a step – or a few of them – back. [12/2019, p.56]

It has a wonderful sound, looks nice, stutters unpleasantly, and is boring as hell. It’s a textbook example of a triumph of form over substance – a charming but overall hollow experience. [03/2019, p.55]

Its biggest merit in the eyes of purists is arguably also its biggest flaw – Scythe: Digital Edition offers nothing that the original board game wouldn’t. The attention to the detail in some ways is even harmful to the game’s design. [03/2019, p.54]

The problems of this game are rooted deep within and were caused by the developers’ self-admiration, their overambitiousness and poor sense of the whole medium. [03/2019, p.53]

There is a fear in Firaxis to truly revolutionize the gameplay and it’s a shame that Gathering Storm’s potentially exciting new mechanics actually modify it ever so slightly. [03/2019, p.52]

It was pleasant to relive the birth of one of the most important franchise of the PS2 era... but it’s Resident Evil 2 that shows how one should remaster an older game these days. [03/2019, p.51]

A piece of a solid game but I can’t shake the feeling that it’s just a quick entrée before No More Heroes 3 which surely will be bigger, more interesting and more bombastic. Enough looking into the past, Suda, I’m waiting for something fresh. [03/2019, p.49]

It’s an unplayable imp of a game which had so many changes and iterations during the course of its production that there was actually nothing left to save. The switch version is an early access copypaste and the first game that crashed on my Switch. [03/2019, p.48]

The atmosphere of horror is overwhelming and proves that in 2019 there is a place for a Resident-like story in which the modern visuals heighten and not lessen the fear. It’s the best Resident Evil ever. [03/2019, p.40]

The game is most engaging when it doesn’t actually try to flood us with visions straight from a low budget scary movie. It shines most when Mars itself and the base’s secrets get to be in the center of our focus. [13/2019, p.92]

The audaciously anachronistic twin-stick shooter doesn’t cut any corners in balancing on the edge of tastelessness. The developers went all the way – in this textbook crap of a game everything is bad. [13/2019, p.91]

A playable Czech cartoon. Short and likeable. Compared to other Amanita Design’s games it’s just a snack – but it still has the studio’s trademark pleasant quirkiness. [13/2019, p.90]

The game might disappoint the veterans of the genre but it also makes an interesting introduction to it – and the flawless pixel art is definitely one of its strongest selling points. [13/2019, p.89]

Though the levels were made mostly as claustrophobic tunnels, the game’s world constantly attacks us with loading screens – and does it in an exceptionally bad manner. It’s a time travel two console generations back. [13/2019, p.88]

It’s definitely worth checking out after Stardew Valley. Even if Doraemon Story of Seasons is not as complex as Eric Barone’s game, it still does often pleasantly surprise – and that surprise element is something that was long missing in Story of Seasons. [13/2019, p.86]

After the pretty good 2K19 edition the series was supposedly back on its tracks. There’s nothing furthest from the truth, however. Never before has it been as bad, as it is in WWE 2K20, and everything that was built in 2K19, now has been somehow lost. [13/2019, p.84]

Trine is back and it hard to not see it as a success. The developers aren’t really trying to surprise us with anything here but the starved fans should welcome it as a really well made encore of Trine 2. [13/2019, p.82]

The Switch version is ideal for couch gaming and the gyro controls change everything... even if from the technical standpoint the game has some real problems. [13/2019, p.81]

A great game is still a great game and this port is an absolute minimum to enjoy it. I only wonder what kind of audience is it really aimed at. [13/2019, p.80]

If you disregard the nostalgia factor, the game is anything but extraordinary. It won’t win over new, younger players... but on the other hand they are not the target audience. [13/2019, p.78]

It’s an extraordinary, poetic, stuffed with content and full of the Western atmosphere sandbox which will be played for years to come. [13/2019, p.76]

Despite all the first grade humour that permeates the dialogues (or maybe – thanks to it?) the Estonians offered us – the Western civilization – a hard pill to swallow. And – as consumers – swallow it we should. I guarantee that by doing it you will forget everything else that has happened in the RPG genre during the last years. And you will not regret it. [13/2019, p.75]

Beautiful and relaxing. It encourages players’ experimentation and at the same time it’s flawlessly designed. [13/2019, p.70]

Each level is a rainbow firework that captivates with detail, makes laugh with the character design, and amazes with its quality and design. [13/2019, p.66]

The janky animations of John Wick’s acrobatics spoil the whole movie-to-game experience. And to think that motion capture could have made it one of the most interesting games of this fall. [13/2019, p.65]

It’s hard to leave the main menu screen because of the music that plays in the background. It’s worth to press ‘start’ though because if there is one thing that came out better than the soundtrack, it’s the gameplay. [13/2019, p.64]

Right now it looks like an advanced beta but in a couple of months, reinforced by patches and mods, it could be a really good game. [13/2019, p.60]

Code Vein has its heart in the right place but I really wouldn’t want to spend my time playing stuff that have been already done better somewhere else. If a potential sequel finds its own identity, it would be an interesting addition to the genre. [13/2019, p.58]

In ‘horror’ category The Beast Inside is my biggest and most pleasant surprise of this year. Almost all of its cogs are in the right places and the occasional grain of sand doesn’t interrupt the the game’s steady rhythm. [13/2019, p.56]

The game is loaded with small glitches and inconsistencies but next to Night in the Woods it’s the one game I could point to and say ‘that’s how you should write engaging, living dialogue’. [13/2019, p.54]

It’s undeniably well-made albeit controversial part of the series. One that tries to break the mold and open itself to another kind of player. It’s worth of praise, even if just for that. I recommend it especially to Battlefield players – you may be pleasantly surprised. [13/2019, p.50]

The world may not remember it for years to come but here and now it’s worth giving it a chance – mostly because of the tragicomic atmosphere of the narrative, well fleshed out characters, and remarkable and funny dialogue. [13/2019, p.46]

The developers cooked up a really pretty open world. Small but full of life. There’s also good sound design, pleasant graphics and... the feeling of deficiency after the end credits. [13/2019, p.45]

Although it’s lacking in certain parts of the overall experience, Kojima’s latest seems like a middle finger shown to the portion of the industry which seems to have lost the capability to design an open world game without RPG elements and a ‘service’ component. [13/2019, p.34]

Five years after original launch the developers publish the same game, adding new microtransactions and cutting content. Defiance 2050 is an example of business practices that should be firmly defied. [13/2018, p.87]

They said: ‘It’s the worst game of 2018. Don’t play it, just watch it on YouTube’. I didn’t listen. And I should have. [13/2018, p.86]

A true gem for every puzzle game enthusiast with an inclination towards programming. [13/2018, p.85]

The diversity of environments significantly enriches the game and challenges experienced players in new conditions every time. It’s a hellishly good game – for me an addiction that makes me go back to it and reach for more and more. [13/2018, p.84]

The game and doesn’t excite and lacks passion itself. The gameplay is a series of repetitive and unskippable story sequences and missions that look and play the same – and that gets tedious quickly. [13/2018, p.81]

Swery proves that his storytelling skills are unlike any other in the industry – I would only wish that someone helped him to design better puzzles. [13/2018, p.80]

Sony’s in-house studio brought us a really well made platformer. It is also the second (after Moss) mandatory buy for every owner of PS VR. [13/2018, p.79]

It’s another edition of the same old thing. One that has nothing to offer apart from what should be offered in the least – and still doesn’t accomplish it well enough to be worthy of any praise. [13/2018, p.76]