There is a general paucity of Lovecraftian thrills in this puzzle adventure, and as much as I try not to resent a game for the crime of simply being bad, Cthulhu: The Cosmic Abyss is a frustratingly fragile waste of time and energy that I will never get back. There are far too many kinks for Big Bad Wolf to iron out here, be it a generational misunderstanding of H.P. Lovecraft as a whole, or the dreadful technical state in which I had the displeasure of playing it. Or possibly it is the muddled storytelling and stilted writing, unimaginative and repetitive puzzle design, and about everything this game attempts but fails to execute. At the end of the day, it is a game hinging on the hope that its audience has never played far better and more polished Lovecraftian titles.

Playing out and reading like incredibly poor fan fiction, Life is Strange: Reunion is a return to Max and Chloe’s roots that fundamentally misunderstands the series’ themes, rules and strengths. Less of a triumphant one last hurrah and more of a reanimating of a dead, soulless corpse, it’s an incredibly missable and disappointing regression in storytelling for the franchise that doesn’t trust its audience’s intelligence. The mystery fizzles with plot holes and limp writing, while the second ill-advised jaunt of Max and Chloe doesn’t offer anything substantive or better than its predecessor, instead throwing as much limp nostalgia baiting as it can at a wall, hoping something will stick. It doesn’t matter how much Square Enix and Deck Nine try to embalm the Life is Strange (and Max and Chloe) name; it’s still a dead, hollow husk that was better off left in the ground.

I wish my first experience with Gnaughty Gnomes was not an incomplete and buggy mess, and I would like to give it a try in a few months once things get better. In its current state, however, I cannot in good faith recommend getting it unless the launch patch fixes all the above problems. You might be better off playing something else cheap and fun with your friends until this game is truly ready for launch.

Omi Oh My AI has admirable intentions, but none of that makes up for how unfinished it feels. The CAPTCHA gimmick wears thin quickly, and constant technical issues make it impossible to tell when the game is being clever or simply broken. While it’s easy to respect the ambition behind the project, ambition alone isn’t enough.

Dreadway unfortunately falls to the wayside as simply ‘another friendslop game’. While it takes clear inspiration from other genre titles, it doesn’t do enough to create a unique gaming experience that will have players choosing it over other more popular titles. With a slew of bugs, a lack of unique or interesting features and a gameplay loop that gets old very quickly, Dreadway ends up feeling like a cheap knockoff that misses the point of what makes the good ‘friendslop’ titles good.

Sadly, She’s Leaving‘s trite plot, absence of compelling characters, and lacklustre gameplay elements mar it, leaving very little to actually recommend. It is a short, play-it-and-forget kind of game, so much so that by the end of my playthrough, I felt nothing towards it but the indifference of knowing I could have spent my time doing anything else. It is a completely mediocre experience, but one that Blue Hat Studio can, and should, learn from.

Behind the technical state of Of Ash and Steel, you can occasionally see glimpses of what could have been. A throwback RPG for those nostalgic for the games of the early 2000s. As it stands, the game is barely functional due to a plague of bugs, unplayable performance issues, and systems that barely hold together. Accompanied by myriad smaller issues, Of Ash and Steel feels closer to a first draft than a final launch. Some people might get lucky and manage to thread the needle of poor performance and buggy gameplay and have a serviceable time with Of Ash and Steel. I was, sadly, not one of those people.

Whether it was through lack of resources or lack of effort, Syberia – Remastered woefully falls short of the modernised experience it promises. Beyond the improved 3D environment that brings justice to Benoît Sokal’s imaginative world, there’s very little to recommend to returning Syberia fans and new players alike. Awkward controls and bare-bones UI makes it difficult to see what made the game so beloved to so many in the first place.

The journey is often more important than the destination, but Dead Static Drive fails to live up to its premise across the board. From unbearable driving and combat mechanics to a wasted chance to build a truly unique world, there isn’t anything to propel you to journey across this iteration of 1980s Americana. A disappointing end to years of promising development updates, Dead Static Drive feels like an early access release 11 years in the making. I looked forward to finally getting in the driver’s seat, but looks can be deceiving.

Little Nightmares 3 presents gameplay and location design that mimics the style of its predecessors, while maintaining none of the depth or exploration that the horror genre champions so effectively. Till now, Tarsier Studios has steered the Little Nightmares games through caricatural horror to plumb the depths of those life-sized fears. But now Supermassive Games has taken the wheel, and the proverbial ship has veered frighteningly off-course into shallow waters.

Atelier Resleriana: The Red Alchemist & the White Guardian never once feels like it was developed beyond the boardroom meeting of its conception. It fails to venture beyond the foundations that the series has set for itself or delve into the world of innovation and experimentation that the series is known for. Superfans of the series may find something to love here, but for those who don’t care to dig that deep, they will find a mish-mash of boring dungeons, a bland story, mind-numbing levels of repetition, and a plethora of design shortcomings in a setting that requires prior knowledge of the world.

Arctic Awakening’s intriguing premise is quickly buried under a slushy heap of mediocrity. Its mystery is undercut by poorly conceived writing, the character dynamics and performances leave you colder than its wintry landscapes and whatever visual beauty that can be found in its intermittent spectacle is often dashed by raw survival mechanics and sluggish pacing. In more assured hands, this could have been a familiar yet effective 4-5 hour narrative adventure, but in its current state, you’d best leave it buried in the snow.

House of Tesla lets down a promising premise with boring execution. The narrative is uninteresting with low-quality execution. While puzzles fare slightly better, the most memorable moments of my time with House of Tesla will be the frustration and confusion while I wait for the hint button to give me guidance on where to go next.

I’m an optimistic person. I try to view games as more than the sum of their parts, flaws and all. I’m struggling to maintain that train of thought as I reflect on my time with Daemon X Machina: Titanic Scion. An odd release here or there from a studio is forgivable. They can be viewed as an off-game, one where they weren’t at their best. Two uneven titles down into the mech series, and it’s clear there are problems with this series down to the core. If this is an IP that is to be continued, something fundamentally needs to change. Fans who see that diamond in the rough here deserve better.

Static Dread: The Lighthouse is a disappointing attempt at combining the suspense, dread, and worldbuilding of Lovecraftian horror with the gameplay of Papers, Please. With what little this game does right, such as its incredible character designs and art, it is sadly overlooked by its tonal inconsistencies and its diabolical mediocrity, from its poorly implemented sanity and energy mechanics to its horrendously easy and repetitive gameplay loop. It’s an easily forgettable and thematically incoherent narrative, lacking any genuine horror elements, and revealing its eldritch threats too early on. Few games capture the essence of H.P. Lovecraft, and Static Dread falls flat at every turn.

Despite not completely lacking in fun, MADO MONOGATARI: Fia and the Wondrous Academy stops short of doing anything interesting with its academy life sim elements or its dungeon crawling. Try-hard ‘funny’ dialogue waffles for too long, academy activities is largely messing around in menus, and dungeons are one-note and house the same enemies and traps that don’t offer a true challenge. If this is your very first dungeon crawler and you’re under the age of twelve, you might find enough fun to get you to the end, but for everyone else, this one will likely lie unfinished on the shelf after the first five hours.

Based on the impressive visuals and soundtrack, I wish I had a better time with Atomic Owl. I love a good roguelike platformer as much as the next person, but without carefully executed roguelike random elements, Atomic Owl is just a platformer where you start from the beginning after every game over. This tested my patience as I powered through the same levels, again and again, after every failure. Atomic Owl also currently has too many issues with frequent crashes, buggy boss fights, and poor design to merit a recommendation to anyone but the most tolerant of platformer fans.

Becoming Saint is a dull way to spend your time. While the pitch is intriguing and the visual presentation is neat, there is almost nothing here worth engaging with on a mechanical level. For a roguelike, that complete lack of narrative depth quickly gives way to an uninteresting and repetitive gameplay loop.

While Captain Blood’s development is an engaging tale, the same cannot be said for any aspect of the final product. The game fails to capture what made other hack-and-slashers so fun, nor does it provide any notable innovations. Even as just nostalgia bait, Captain Blood always ends up undermining itself thanks to lacklustre combat, a lifeless world and general glitchiness that pollutes the whole experience.

The Fool’s Apprentice is a neat concept that simply needs more time to cook. It has some cool ideas in using magical abilities to augment its management sim gameplay, and its soothing soundtrack complements its tone perfectly. However, a litany of technical issues and critical design flaws make it ultimately unplayable in its current state. Fingers crossed the team at The Planar Danse will be able to support The Fool’s Apprentice with updates and fully realise their vision for the game in time.

Enjoyable enough to play for an hour or so, but Grit & Valor – 1949 quickly gave me the feeling of wishing I had the tools I needed to make responsive tactical decisions, and left me wanting to be offered choices that would lead me to different battleplans than the ones I started my runs with. In the end, providing giant robots just wasn’t enough to win the day.

Dollhouse: Behind The Broken Mirror felt like someone attempted to make a horror game who didn’t know what made them scary to begin with, and then didn’t show it to a single person for feedback before releasing it. The story is all over the place, and any lore you get throughout the game is hard to make sense of or connect to anything you have already learned. The enemies are obnoxious in number and any possible threat or fear goes out the window due to the sheer frustration that they instill. It feels like a bunch of half-baked concepts and locations thrown into a pot and left to boil for way too long. The flaws in the gameplay and overall functionality bleed so far through the experience that it felt like a slog, and the scariest part was the fact it took 8 hours to finish.

MainFrames is a delight to look at, but less enjoyable to actually play. The charming and cute aesthetics can’t save MainFrames from its simplistic gameplay which struggles to capitalise on its strong ideas.

NEEDY STREAMER OVERLOAD: Typing of The Net is a typing game that actually challenges you. Whilst there is a decent game here for those who love to test their typing skills and enjoy learning internet lingo, it’s a shame the experience doesn’t last very long. However, if you plan to pursue the mini secret section, you better hope that it doesn’t screw you over during a boss fight as there still seems to be a lot of instability and glitches in this build.

STAR WARS: Jedi Power Battles is a galactic disappointment. While some technical updates like faster load times are nice, the force is not strong with its outdated mechanics, frustrating platforming, and missed opportunities to fix core issues. A mediocre game from 2000 with no substantial changes simply doesn’t cut it in 2025. It’s a Womp rat of a re-release that fails to live up to the legacy of the Star Wars saga.

Overall Elrentaros Wanderings doesn’t have much to offer. There are a lot of different elements on display but none of them mesh together in a way that is satisfying and the game itself just comes across as an under-designed mess. Despite some cute character designs, the aesthetic of the game just isn’t pleasing to the eye and on the whole, it leaves a lot to be desired.

Avatar: Frontiers of Pandora is a big misstep and feels like Ubisoft's biggest missed opportunity in a while. Not even the fantastical and majestic sights of Pandora and some engaging hunts can cure the buggy, unoptimised product presented to the world. Offering a dull story while it trips and stumbles on delicate themes, it too is simply a confused formula of everything you've seen before from other titles, almost all of it ill-fitting. Two adaptations under their belt and it seems Ubisoft just can't get that voyage of Pandora right.

The Lords of the Rings: Return to Moria has some very solid ideas. A game set in the Fourth Age is incredibly interesting and exciting. This is why it’s such a shame that Return to Moria is not a success. There is a lot of heart in it, sure, but the core gameplay loop just isn’t engaging enough to make the game worth buying over other survival titles, even if you are a big LOTR fan.

Survivor: Castaway Island takes one of the most popular TV shows in history and turns it into a boring, repetitive video game with very little in the way of redeeming qualities. Trying to strategise with tribe members sucks, challenges are lame, the production values are subpar and the game even goes as far as to make changes from the TV show that make the experience even worse. I’ve kept hoping and praying that one day somebody would capture the feeling of Survivor in a video game. Today is not that day.

AEW had the right idea in wanting to focus on the nostalgia of the wrestling games we played when we were kids, but at the end of the day, the seemingly low budget and lack of polish is something that should be left in the past. AEW: Fight Forever has some fine ideas and its execution of moment-to-moment gameplay and animations isn’t terrible, but matches can be won with minimal effort or drama, presentation is missing key things that make wrestling special, and the story mode is repetitive, boring and self-masturbatory. Fight forever? In this game? No, thank you.

The Lord of the Rings: Gollum is a buggy mess, even disregarding the constant crashes. Not only that, but it is a game void of any personality, originality, or bravery. It attempts nothing new and falls back on tropes that started falling out of style years ago, while somehow still managing to replicate them poorly. It disappoints me not just as a fan of the Lord of the Rings, but also as a fan of video games in general.

Even with its quirkiness and challenging katana action, Wanted: Dead is a mess. It offers an odd nostalgic charm of the incomplete and unpolished games of the mid-2000s and never takes itself too seriously. Still, without the enjoyable mini-games, imaginative slice and dice finishing moves, and “so bad it’s funny” voice acting, there’s not much more to love. This might be one of the most disappointing games of this year.

If you are a fan of horde-like games then Warhammer 40,000: Darktide will no doubt scratch that itch. Whilst the gameplay can become repetitive and the grind seems to offer little value at this stage, I cannot deny that I had a blast playing it with a group of friends. Some incredible “oh crap” moments occurred during combat when we were overrun by a horde of enemies and had to work together to stay alive. It’s moments like these that keep you coming back for more. As this is a games-as-a-service title, we expect many more improvements and features to be added with time to enhance the experience and features. [Review in Progress]

Police Simulator: Patrol Officers is a game that should not have been made. It provides a core gameplay experience that is neither realistic enough to be a simulation nor interesting enough to be an actual game. At the same time, it unironically tries to cater to a fantasy that positions everyday people as enemies to be dealt with. Shamelessly borrowing the trappings of the Grand Theft Auto series without any of the satirical overtones leads to an unsettlingly pro-violence experience. It is even difficult to enjoy the game’s impressive environmental design thanks to a litany of visual glitches. Police Simulator: Patrol Officers misses the mark in almost every regard.

Somerville relies on its fantastic animations and settings to tell a story of a father trying to reunite with his family. But without important story fundamentals such as exposition, you have no idea what is going on. Coupled with the fact that the adventure consists of simply solving puzzles while walking around, it is hard to immerse yourself in the story or even care about what will happen. Solving puzzles can also be difficult because you are expected to fumble around and discover what can be interacted with. There’s no guidance or assistance, which leads to frustration when you have no idea what to do next. There’s a good attempt at telling a story here, but it’s difficult to find yourself wanting to reach the end.

Horse Tales: Emerald Valley Ranch is a sad tale for the much-needed resurgence of equestrian-focused video games. Littered with poor design choices and endless amounts of bugs, every attempt to seep some joy out of the game was hindered. This comes as a shame. The bones of a good game are in there from the exploration of an interconnected world to a good start in both horse gameplay and town management and restoration. Boiling down to more than just a game released too early, Horse Tales also is a game too ambitious for its own good and not what was expected or needed. Take this one out to the pasture, they’re done.

The voxel creations and freedom that Dual Universe offers are pretty impressive. It’s a concept with a lot of potential. However, the failed execution and many bugs leave this game dead on arrival with honestly no reason to play unless it ever receives a resurgence in players and a massive gameplay overhaul.

I can see LEGO Brawls’ appeal as a free-to-play mobile game, where its simple mechanics and repetitive game modes are more excusable. As a full-priced console game, standing up against feature-rich AAA titles and even free-to-play titles, LEGO Brawls just doesn’t stand out in the slightest. Although a less complex brawler aimed at a younger audience might make sense, in this case it’s TOO simplified, where every character behaves the same and the only strategy is to run at your foes and mash the attack button. Combine that with the lack of additional single-player content and glacial progression system, and it becomes difficult to recommend LEGO Brawls to anyone other than the most devoted LEGO aficionados.

I appreciate what Scathe was clearly aspiring to be, but it doesn’t reach those aspirations. Its sprawling, directionless levels were no substitute for a more tailored experience with a difficulty curve and intended order of obtaining new weapons and spells. Flooding the stages with enemies and hazards that appear out of thin air felt unfair more often than not, and the lives system and scarce health pick-ups only slowed down what is intended to be a fast-paced experience. If you enjoy DOOM and FPS’s inspired by it and want to play it co-op with your friends, there is some enjoyment to be had, but there are better-designed co-op shooters on the market that are more deserving your time.

The House of the Dead: Remake could have been such an easy recommendation if it controlled properly. It hits all the right notes EXCEPT for the most important ones, and I seriously cannot wrap my head around how it got released in its current state beyond a deadline that absolutely should have been pushed back. Either way, I think the Switch got the short end of the stick here… with FPS lag and bad controls to boot. At this point, you’re better off waiting for a version on another platform or at the very least waiting for a patch for this one, because this is one game that should’ve stayed dead a while longer.

From a dismal effort on the front of graphics, user interface, player onboarding, sound design, and essentially every other aspect of game design, Babylon’s Fall is a failure. Games have bounced back from disastrous launches in the past, but in this case, I feel like it may be best to let sleeping dogs lie. The game’s one and only saving grace is that Platinum Games truly are the kings of combat, and while Babylon’s Fall is nowhere near the top of their collection of works, hacking and slashing your way through the Tower of Babel is at least, occasionally, kind of fun. It is just a crying shame that there is very little else to enjoy from the game; there isn’t anything pretty to look at, nice to listen to, or easy to engage with.

Martha is Dead isn’t for the faint-hearted, though sadly that’s not for the right reasons. There are too many moving parts in this game that weigh the already poorly-paced story down. If this was a spooky investigative adventure that required you to take photos to unlock the brooding mystery hidden within, I’d be all for it, because that’s one part that actually works. But alas it’s instead left as an over-exerted mess that is more focused on a couple of key shock-value moments than anything substantial. This game needs a swift autopsy to dissect out the crimes before a merciful cremation.

Aery – Dreamscape is an interesting game. But with five Aery games already out, has EpiXR Games already flown too close to the sun? Dreamscape’s storytelling is quirky, by looking into the dreams of those around us, we can understand each other more. With different levels and a unique hub world, it’s clear there’s passion. But considering that subtitles are sometimes missing, objects glitching, and markers not showing at all, maybe it’s best to give Dreamscape a miss.

I wish I had more positive points to speak about, but AWAY: The Survival Series just isn’t that fun to play, and being a video game this is one of the most important aspects for the developers to nail. The experience feels unnaturally empty and shallow, and whilst the good intentions are there, the execution makes it a hard title to recommend spending money on, at least in its current state which feels like an early access title, despite it being a proper release. If this title piques your interest, I would suggest waiting to see what the developers end up fixing and tweaking as they have promised to fix multiple issues and provide constant updates to offer a more polished title.

At the time of writing, I can happily say that Amazon’s new foray into the world of massively multiplayer role-playing is a tentative success. There’s the core of a really phenomenal experience here that with continuous love and attention can blossom into an experience worthy of standing the test of time. What’s next for New World? I’m not sure. But for the foreseeable future I intend to play along and find out.

The Dark Pictures Anthology: House of Ashes is an utter disappointment and not the redeeming game developer Supermassive so desperately needed it to be. Where its accessibility options offer to draw more players in, just as many will be repelled by its poor and offensive political themes, shoddy camera handling, uninspiring cast and buggy nature. Hoping to be a thrilling ride with some political intrigue, it's instead a sloppy affair that'll leave players feeling like they're going through the motions. Supermassive fans deserve better. The horror genre as a whole deserves better. No recommendation can be provided for this dark plunge.

It must be said, I was absolutely blindsided by JETT: The Far Shore. The marketing was vague enough that I could envision this game working. The aesthetic that I found so dazzling is still there, but everything else falls by the wayside. At best, the gameplay teased me with what could have been. At its worst, it was a frustrating and laborious mess. Storywise, there were few sparks of interest to be found. Should something catch alight, it would be quickly smothered by boring office chatter. It’s the purest form of a game that presents itself as a well-designed art piece. JETT: The Far Shore is something to ogle at, to mull over, to discuss. It has no desire to lower itself to the medium of video games, and the mechanical tedium bears that out.

There’s a lot of potential to Monster Harvest, but it falls short on delivering a farming sim game that comes close to rivalling others in the genre. Hopefully, with time, Monster Harvest continues to grow, but until then it feels like it’s missing what makes the hard work worthwhile. Honestly, this feels like an Early Access title that still needs more time before it’s ready for full release. It seems the phrase ‘third time’s the charm’ does not apply to game delays.

Unfortunately for Foreclosed, the glitches, confusing systems, and undercooked game mechanics overwhelmed my experience with the game. On the surface, Antab Studio present an exciting and engaging future-noir thriller, but look much further and you will see a cyberpunk-by-the-numbers experience that falls flat. Even taking into consideration the well-realised cyberpunk world, and the clever use of comic book aesthetics to present the game’s narrative, Foreclosed fails to impress on most fronts. Gameplay is key, and unfortunately Foreclosed presents and feels like a middling shooter from decades past.

World’s End Club wanted to be like Danganronpa or Zero Escape, but it doesn’t measure up to either. This game has a pretty cool story sandwiched between aggressively average platforming segments that wouldn’t stand up to snuff ten years ago. It has a cool art direction and likeable characters, but the writing itself is not masterful enough to make the unconvincing plot twists work, nor to make up for the boring and repetitive gameplay.

If you’re sensible, please, for the love of God spend your time and money on literally anything else. Lust From Beyond will derive no joy, only misery and lethargy.