It has potential to absorb you for long hours and I can recommend it to everyone who likes games that are intellectually demanding. [02/2014, p.59]

I was fed up with Steel Empire after 15 minutes. The game is too easy, weapons lack punch, action sequences are anemic. [03/2016, p.73]

Unique aesthetics and fun time travelling mechanics are not enough to make up for a bunch of design errors, repetitive procedurally generated environments and at times amateurish execution. [06/2018, p.74]

Carto is cute but shallow. Repetitiveness of its main gameplay mechanic combined with unsatisfying, tedious puzzles made me welcome the end credits with a sigh of relief. [01/2021, p.55]

LOUD is very polished and offers light, quick gameplay perfect for a handheld. I’ll be surely coming back to improve my score on some levels, but due to the game’s disappointingly simple story and bland songs the primary feeling I was left with was the urge to dust off DJ Hero.

Inspired by Quake and other classics but devoid of any distinctive qualities that would help it stand out among other boomer shooters, Dread Templar is pretty fun but ultimately forgettable.

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]

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]

Snowfall introduces more new features than After Dark did, but I wish it had avoided some silliness (I based the economy of my subarctic city mostly on agriculture). [04/2016, p.53]

Infinite is a case study on how not to make crossovers. The story mode is really poorly written and if you don’t already know and like the characters, you’ll just waste your time. What’s worse, almost every element of the game is similarly weak. The result is a mediocre game that wastes the potential of its solid combat system. [12/2017, p.54]

New Larry stands in the eighties and nineties with one leg and in 2018 with the other – and between those legs he feels just fine. [13/2018, p.71]

Fire Emblem Heroes reminded me that the Japanese do not consider smartphones and tablets worthy of real games and treat them as a way to encourage you to buy full-fledged releases for 3DS or Switch. [04/2017, p.75]

I feel that with a larger budget and bigger experience XGen Studios could offer us a real treat, but what I got instead was just a snack that left me hungry. [11/2018, p.77]

Pokémon Scarlet and Violet somehow manage to be the best entries to the series and the worst ones, at the same time. Even though there’s plenty of fun to be had in Paldea, awarding these unbelievably buggy games a higher score would be a disservice to everyone, including Game Freak.

Avatar: Frontiers of Pandora is not terrible and I’d be lying if I told you I suffered through it, but I expect more from a AAA title than a semi-polished gameplay, a run-of-the-mill story and environments that oscillate between breathtaking and mediocre. Ubisoft Massive’s game has moments showing it could have been great, but overall turned out uninspired.

Creatures of Ava is a relaxing, addictive, magical non-violent action game that requires not only deft fingers, but also intelligence and… empathy. While it’s not much to look at (the music is great though!), has flaws and can put some people off with the rather naïve hippie-ecological message, its diverse and vibrant semi-open world is well worth visiting.

Juggling genres is the series’ trademark and the latest game offers much larger variety in that aspect than any of its predecessor. Most of the genres were tackled well enough, but not all ideas are spot-on and almost every part of the game could be improved. It is the best Battletoads game to date though and it would’ve scored higher if it wasn’t for one frustrating and infuriating section towards the end of the campaign. [11/2020, p.55]

Lichtspeer is a repetitive one trick pony but still I’m curious what the developers will think of in the sequel (if they ever make one, that is). [13/2016, p.75]

Metal Gear Online has a great potential, but the developers need to improve and rebalance the game to make it shine. Playing it right after it was released felt like driving a supercar on a road ridden with potholes. [13/2015, p.56]

The graphics have been refreshed beautifully, but I don't think it is a necessary change, as the original still stands up well. Not mentioning the optimisation problems and the exaggerated price... Eh, Sony, why are you doing this to yourself?

Where Winds Meet tries to do too many things at once, which ends up in a way typical for this approach – there are many activities and mechanics, but none of them are particularly impressive.

I can recommend this game as a good introduction to the genre for those who would like to start their first virtual career as a football club boss, but it's still not much of a competitor for the Football Manager series. [December 2011, p.54]

It’s a pleasant thing for short gaming sessions, and a rather solid game from the technical standpoint. It could use more narrative polish and quest variety though. [04/2020, p.58]

Rating The Crew is problematic, because you can look at this game from two perspectives. In view of some simplifications and scripted moments it will not delight those in search of pure racing. Those who appreciate large open worlds however will be overjoyed. [01/2015, p.70]

Pumpkin Jack is a charmingly old-school game that would fit perfectly into the PS1 era. It’s colorful, full of humor, and offers huge, well-designed levels. It tries many different ways to mix up the gameplay, which is great, but all these efforts are too safe to bring any real surprises. [13/2020, p.71]

A love letter to Contra, Metal Slug and the likes, Mighty Goose does a really good job at recreating the look and feel of classic side-scrolling run-and-gun games. Of course, high difficulty level comes with the territory, but for me combat plunges into confusing chaos too often (“wait, is this an enemy bullet or just a harmless visual effect?”), somewhat spoiling the fun alongside the unfriendly autosave system. [08/2021, p.65]

Lords of Xulima is ugly, some of its elements are too simplistic and the story is poor but you rarely find an RPG that tests you intellect to such a degree, making you count every coin you spend, thoroughly examine every piece of equipment, keep track of food supply, endlessly tackle puzzles, carefully manage characters’ stats, look for alternate routes and find out how to beat different monsters. [08/2015, p.69]

The Ninja Gaiden trilogy differs from all the other slashers and even today stands out from most of the representatives of the genre. Instead of pleasing the mainstream tastes, the Japanese have created games that require you to master available techniques and are brutally difficult even if you do. Most players will find them much to hard to complete, but that’s why we love these team Ninja’s masterpieces, right? [09/2021, p.36]