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]

The ruthless randomness mixed with a heap of unusual gameplay elements amount to a one big mess. [13/2018, p.75]

In these kind of moments it’s common to write about an ‘unfulfilled potential’ but after playing I can’t be bothered to do even that. Although it takes just one look at the game’s aesthetics to see how well and honestly the developer was able to render the Game Boy-pretend visuals. [13/2018, p.74]

It’s six hours of a diversified gameplay with loads of secrets and good music in the background. And the finale is so delightful I wanted to clap during the credits. [13/2018, p.72]

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]

A very well done fighting game – nuanced and demanding, but also fun in simple instances of waving some big swords around. [13/2018, p.70]

While not being an indie games enthusiast myself, I do wholeheartedly recommend this game – both to fans of pixel art aesthetics, and to those who just want to shoot a lot of stuff in an old school FPS. [13/2018, p.68]

Lamplight City is neither as good, nor as bold as Unavowed’s mix of adventure and RPG but certain ways it reforms the genre do pleasantly surprise. Gonzalez’s marriage of a crime story with a period drama piece came out better than ever before. [13/2018, p.66]

It’s a shame that a game with such distinct visuals and narration voiced by Patrick Stewart ended up as just a bland, short adventure. [13/2018, p.64]

Doesn’t tire with repetitiveness and doesn’t irritate with illogical consequences of our choices. It’s fun in small doses, but on a PC monitor – if we give it our full attention – it gets wearisome after fifteen minutes. [13/2018, p.63]

Gwent’s greatest asset are its basic mechanics – simple, easy to grasp and engaging mentally. Gives the players a lot of agency and even more tactics to discover and choose from. [13/2018, p.60]