NeocoreGames masterfully channels the grimdark atmosphere of Warhammer, but the actual gameplay is very barebones. There are three different classes, but they play pretty much the same, and most of the perks only add 1% to this or 1,5% to that. Oh, and that "open-world sandbox" you see on Martyr’s Steam page? It actually means "procedurally generated missions with simplistic objectives." [Issue#231, p.60]

Call of Cthulhu is an atmospheric game with a rather gripping detective storyline. Unfortunately, it fails to evoke any kind of fear of the unknown, which is essential for Cthulhu mythos. [Issue#234,p.66]

Michonne is terrible in her protagonist role – she is unsociable, cynical and silent. But she is the most mysterious and unusual character from the The Walking Dead. To squeeze player into her skin is a very convenient way to show how she came to such a life. [Issue#210, p.77]

Champions of Anteria plays almost like Dungeon Siege successor: multiple heroes, real-time pauseable tactical combat, RPG elements that dictate flow of fights. The only thing that’s missing is pack donkey, but there’s no need for it – instead of bags full of loot, champions are rewarded with additional lands that will be settled in Anno manner. [Issue#212, p.56]

Beloved characters, fabulous locations and familiar music – all of that makes you want to replay every Final Fantasy that came before. The only thing they fail to do is make you want to play Dissidia itself, at least for long: single player is very weak, and online mode has some game-breaking problems. [Issue#227, p.62]

Each of the ten chapters has a storyline that somewhat overlaps with numerical Yo-Kai’s. But whatever the plot reason is, in the end you’ll find yourself plowing through enemies using the same two basic attacks. It’s a grind game, plain and simple – and an uninspired one at that. [Issue#234, p.58]

A full playthrough takes about two hours, which is weird, considering that Infinite is advertised as a full game. Still, these two hours are good, so hopefully, next time the developer will get a bigger budget and will finally deliver a full-length game. [Issue#259, p.55]

Flaws in gameplay and storyline are compensated by the great skill of designers who have managed to deliver the spirit of spy adventure. Each level reminds the satirical Cold War Museum, whose exhibits can be examined for hours, and even angular character models do not spoil the experience. Of course, CounterSpy cannot boast of Evil Genius’ madness or No One Lives Forever’ charm, but it definitely shows the romance of the sixties. [Oct 2014, p.90]

The Park runs on standard-but-efficient horror fuel: whispering sounds and child’s cries, all-enveloping darkness and creaking of abandoned yet living park rides. Hansel and Gretel’s story, intermixed with deeply personal horrors of maternity. [Issue#204, p.85]

The heart of Alone in the Dark is not in its action sequences – it’s in the narrative. And believe me: you’ll want to see how this horror detective story plays out. [Issue#264, p.52]

All you need to know about Sébastien Loeb Rally EVO physics is that you can jump on piles of snow as if they were trampolines. [Issue#206, p.70]

Fitness Boxing 2 is pretty much the same game as the first one: throw punches in rhythm to the music, score points and burn some calories in the process. [Issue#251, p.68]

First trailers gave the impression that this would be a fresh take on the familiar police chief formula, putting us in the shoes of the young Lily Reed. But no – once again we’ll be playing as Jack Boyd, doing the same old job with some half-baked new features. [Issue#232, p.60]

Unlike the deadly hide-and-seek of Alien: Isolation, The Road Ahead leaves no room for improvisation nor gives a chance to rectify your mistake. Either you do everything exactly as the level designer wanted you to, or you die. [Issue#266]

The combat is lacking, the story-telling is awful, the faction system is barebones. Yet there is something to Biomutant, some unexplainable quality that makes you want to keep exploring its wacky world. [Issue#253, p.34]

While everything of interest is taking place on the streets, we stay indoors and clean up stuff. [Sept 2015, p.83]

Open world is sadly underutilized: there’s no need to explore it to find new races, and unlike original The Crew, mini-activities like slalom are few and far between. [Issue#232, p.54]

Teen Power has loads of sidequests, but only a few of them actually worth the player’s time. [Issue#254, p.47]

What was the point of this game? If it’s a game about cats, why is there so few typical cat activities? And if it’s a game about humans – why do they act so unnatural? It feels as if the writer’s knowledge about human interaction was all book-learned. [Issue#265, p.61]

American Fugitive is what GTA would’ve looked like if it never went 3D. [Issue#239, p.59]

It’s a breath of fresh air for veterans of CCG, but newcomers to the genre probably won’t enjoy it as much due to Deck of Ashes unforgiving nature and abundance of unusual mechanics. [Issue#247, p.56]

There’s a killer on the loose, there’s a bunch of unlikable teenagers who are about to meet him, and our choices will quite arbitrarily decide who lives and who dies – you know the drill. The only remarkable thing about Frank Stone is the amount of Dead by Daylight references: fans of that game will definitely be pleased. [Issue#265, p.65]

Close to the Sun is great at atmosphere-building, but the ending is nothing short of disappointing: too many big questions are left unanswered, as if developers couldn’t bring themselves to choose one version of the events over all others.[Issue#238, p.64]

Don’t get me wrong – Battletoads is a good co-op game for an evening or two. But you can’t help feeling that the developers didn’t give it their best. [Issue#248, p.40]

Almost in every of 180 in-game days our chief of police will have to dispatch officers, assist detectives in their investigations and play politics with various influential people. Of course, over 20-hour story that type of gameplay grows stale – but it’s the only way to really immerse yourself in character and know his pain when his favorite detective decides to go PI, – or pride when you shape up an alcoholic into an exemplary policeman. [Issue#212, p.53]

Instead of a triumphant reboot we got a weird game that resembles Most Wanted (2012) with tuning options thrown in. [Issue#203, p.64]

Fans of the genre should definitely play Company of Crime for its novel setting of London criminal underworld and rich melee combat, but it’s probably too low-budget to please your average gamer. [Issue#248, p.62]

When it comes to the fight the game remains as clueless as before. An attack resembles a mob hit on the madhouse watchman's post: confused fighters run toward the target and drop dead on the way. All three formations are designed to provide a semblance of order, but after right click on the enemy such order immediately thrown into chaos. And, just as before, two dozen archers on the wall solve most of the issues of defense. The visual part of the game just aggravates the impression that ... Oops, there is no impression actually. Nobody creates games in this way anymore. [Nov 2014, p.99]