Although Genesis turned out to be a bit glitchy and buggy, and its parkour sequences are straight-out torturous, all in all it it’s a pretty successful experiment. [Issue#243, p.48]

Lara’s new adventure is definitely the best in trilogy, but it still lags behind the leaders of action-adventure genre, such as Uncharted 4. [Issue #233, p.44]

It’s hard to call Conquest of Eo a sequel, because it’s so different from its predecessors. But at the very least, it’s a great spiritual successor, and it knows how to keep player’s interest. [page 60]

Most horror stories focus on the monster, while this one is about people. There won’t be any insights about cosmology or biology of the impossible creature threatening the oil rig; neither is there an abundance of diaries with innermost thoughts of our colleagues. But that down-to-earth approach is exactly what makes this story so believable and relatable. [Issue#265, p.60]

Compared to other projects based on Games Workshop tabletop games, BGA is closest to the ancient dilogy of Shadow of the Horned Rat and Dark Omen. Just like these, BGA sacrifices turn-based gameplay in favor of real-time, but sticks to the spirit and letter of the source as closely as possible. [Issue#209, p.78]

While new XCOM lost in scale, it makes up for it in style. It’s great that agents now engage in friendly banter both in and out of missions, and room-scale shootouts are far more intense than hunting for enemy pods in a city block. [Issue#245, p.64]

Tales of Zestiria isn’t a blockbuster and it won’t appear as a “Game of the Year” nominee, but if you like JRPGs, you’ll spend about 40 hours in it, and won’t come to regret a single one of them. [Issue#204, p.73]

Avowed kinda works. The story is bland, but at least dialogue doesn’t make you cringe every time someone opens their mouth. Combat... exists. And level design is actually good: it looks quite nice, and offers interesting exploration opportunities. But it’s definitely not worth the asking price of $70. [Issue#266]

Not only it doesn’t surpass RE2, it fails to even hit the same mark. In RE2, every act had you explore a rather large environment, search for clues and solve puzzles. In RE3, you just run down a corridor, blasting zombies and dodging scripted Nemesis attacks. [Issue#245, p.46]

Did Turtle Rock succeed in laying the foundations of 4vs1 genre? For the most part yes, yet they have too much riding on a person playing as monster – basically, he’s the one who ultimately determines how interesting the game will be. [April 2015, p.58]

That "I did my best but failed..." accompanies Grey Goo in almost every aspect. The game is really good but constantly stumbles on small, but noticeable imperfections. Excellent re-creation of the C&C game mechanics without the inherent C&C drive. Lovely base management with solely battle tactics of "grasp all units with a frame and send them to attack". High complexity, which is based on the cheating AI. Balance of a game from 1995 in a year of 2015. [Issue #195, p.82]

It feels like a StarCraft mod where unit models are replaced with Warhammer figurines. Grimdark and gore that are synonymous with Warhammer 40k were carefully gelded. Intro cutscene aside, this game could easily get 6+ age rating. [Issue#219, p.64]

Imitation is the sincerest form of flattery. Breath of the Wild set the bar for the genre, and since Link never got around to visiting Ancient Greece – there’s no shame in sending Fenyx there instead. [Issue#251, p.56]

When Ubisoft brought forth subscription service Just Dance Unlimited, it became the focal point of Just Dance experience, and every new game basically adds new songs to it, albeit with a timed exclusivity. [Issue#234, p.48]

iOS and Android versions of TWEWY couldn’t handle the unique combat system with two different fights on two different DS screens, so they cut one of them. Switch port mutilates the game even further. [Issue#234, p.74]

With Warriors Orochi 3 Ultimate developers shipped so many game modes and new features that most of the hopeless fastidious fans of the Dynasty Warriors genre just had nothing to complain about. In fact, very rarely under the guise of the new revised and enlarged edition of the old title developers offer as many as three different games. [Nov 2014, p.89]

Game Builder Garage offers enough tools to make everything from a simple platformer to a racing game to a space sim. The only downside is that it’s hard to discover games made by other players. [Issue#254, p.64]

Before the Storm doesn’t feel like a proper prequel – it’s too short for that. For example, Rachel-Chloe relationship progresses too quickly and smoothly, they didn’t even have a big quarrel. Sure, writers did show just how much Rachel meant for Chloe, and we did get some nice family drama, but Rachel’s eventual disappearance and events that led to it are completely sidestepped, leaving kind of an empty feeling. [Issue#226, p.42]

Bravely Default II has some technical issues, but Claytechwork managed to make a good JRPG that deserves to stand alongside genre’s finest (well, at least those of the recent years). [Issue#252, p.68]

D4 is a silly and frivolous game, but charming in its awkwardness. Part of the charm lies in the fact that it blends the absurd and serious things in equal proportions, so absurd ones look even more grotesque while serious ones suddenly became more meaningful. The selected method of narration with trips in time and space is able to reveal the most non-standard locations, and the author's story can go in an absolutely incredible jungle. [Nov 2014, p.94]

Even at first glance, it is clear that it is an expensive and very ambitious project from a team of highly skilled professionals. But the lack of an exciting plot and thoughtful combination of RPG and FPS can’t be compensated for by just a huge budget. [Oct 2014, p.76]

It’s still the same fun and crazy fighting that demands from the player exactly as much as he wants to give. You can gather your friends and simply mash buttons to enjoy bloody spectacle, or you can spend hours perfecting your techniques to compete with professional players. No matter how you choose to play it, MKX will find something to offer. [June 2015, p.64]

Single player campaign turned out to be a disappointment, but for CoD series, story mode is usually just a warmup before you go online. In multiplayer Cold War performs exactly as expected: it has a lot of modes, but suffers from poor performance and weird matchmaking. [Issue#250, page 48]

Ship designing demands a lot from the player. Empty shell of any ship, from tiny fighter to space fortress, has to be filled according to its future role in the fleet. Every square inch of space matters: if you manage to squeeze in an extra generator, you’ll be able put a more powerful gun into pylon. [Issue#208, p.74]

I’d like to believe that in time, with a few DLCs, Imperator will become a worthy Antiquity simulator. Still, it’s a worrying sign that a brand new Paradox game has basically no original features at its launch. [Issue#238, p.66]

A quality remake of a 2004 game that will keep you entertained for many evenings. [Issue#263, p.53]

There’s only one person around, and he’s more interested in making requests than talking, so you’ll have to get your bearings on your own. Push a button, pull a lever, walk and observe, try this and that – to open a door to a new world, you may need to build a bridge in one dimension, use a laser in another and strike a tambourine in the third. [Issue#212, p.63]

Poor matchmaking isn’t the sole reason to dock points off. For example, there’s no deeper layer than “go kill them all” to multiplayer matches, while Faction war is just too global to feel that your actions actually have an impact. Sure, For Honor is a good game still. But it could’ve been a great one. [Issue#217, p.52]