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.

Featuring a cute lizard protagonist and an imaginative archipelago of puzzles, Gecko Gods is just too rough around the edges to earn its stripes. At its best, it emulates the same wonderful feeling of free exploration you get from the Zelda series, but these moments struggle to shine through frustrating controls and low graphical fidelity.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.