Frankly speaking, it’s just a collection of short stories. But what it lacks in action department, it makes up for in atmosphere: if you’re longing for campfire tales, pour yourself a big mug of tea and launch this game. [Issue#228, p.45]

Vermintide 2 doesn’t solve the problem that the process is ultimately pointless: you increase the power level of your character just to play the same maps on higher difficulties, with no actual endgoal. In fact, it doesn’t even try to tackle that issue. But it’s still a great game that lets you spend your evenings slaughtering skaven and northmen in the name of Sigmar. [Issue#228, p.40]

This world favors guns and blasters (and rather rare laser swords), so the combat system is quite unusual for the genre: it plays more like anime-styled Destiny or The Division than traditional JRPG. Which is good, because fights make for the most of gameplay in Fatal Bullet. [Issue#228, p.58]

During the middle-game the process becomes blatantly boring: as your colony steadily grows, your biggest struggle will be with interface and lack of automation for certain tasks. After hours of going through the motions, you’ll wonder if moving to Mars was a good idea in the first place. [Issue#228, p.48]

This new Kirby had the potential to become another great entry in the series, but that didn’t come to be. The blame lies on the difficulty: when you play Star Allies with friends, it’s just too easy, but when you play it with AI-controlled teammates, Kirby basically plays itself. [Issue#228, p.62]

Open world turned out to be a huge letdown as it brings nothing to the table and makes the rather average campaign drag on forever. [Issue#228, p.68]

A great comedy adventure with a hair-trigger tempered, yet still charming protagonist. Chuchel is like a fun-charged battery that’s ready to boost your mood. [Issue#228, p.66]

That doesn’t mean that combat is awful and Ash of Gods isn’t worth playing – but you’ll definitely need to adapt to its rules. Or simply switch to the story mode that lets you plow right through the fights and focus on the story. It’s worth it: there’s a novel-sized interactive story here with loads of characters, unexpected turns and seven different endings to top it off. [Issue#228, p.46]

McGregor’s presence on the cover is symbolic: just as real UFC becomes less about the sport and more about the money and the show, the virtual UFC eschews gameplay in favor of lootbox profits. [Issue#227, p.42]

It feels like interface was developed by a saboteur, while another one was in charge of the tutorial: it barely covers the basics before dumping you right into a sink or swim situation. And even if you do manage to swim, you’ll face a myriad of annoyances. [Issue#227, p.50]

A chopper in this game is just a big paperweight that’s brought to your garage with a note replace part X. You buy that part, take the old one out, place the replacement in, put back the screws – and that’s it, you’re done, time to move on to the next job. You can’t fine-tune it, you can’t take the chopper out for a test drive, you can’t even take an engine apart. [Issue#227, p.45]

Large-scale Monster Hunter works so well, it’s anybody's guess why Capcom waited so long to make this step. [Issue#227, p.58]

It’s hard to find time for heroics in a busy schedule of sleeping, foraging, finding water, walking back and forth to base camp or vomiting in the bushes due to food poisoning. [Issue#227, p.64]

Kingdom Come isn’t perfect, but it’s unique. If its deliberately slow pace doesn’t click with you – skip it, the storyline here isn’t something to suffer gameplay for. But, if it does click, you’re guaranteed to spend dozens of hours in virtual Bohemia, poaching hares and stalking bandits through the woods. [Issue#227, p.36]

It’s easy to see Journey influences in Fe, and there was another forest we’ve been saving not too long ago in Ori and the Blind Forest. Still, even if it’s not innovative, it’s certainly charming. [Issue#227, p.49]

Any genre aficionado will breeze through the campaign in a few hours, and multiplayer skirmishes are simply not worth it. Still, the game has a redeeming quality – if you have a small kid and you want to help him grasp the basics of strategy games, Exorder will be a surprisingly good fit. [Issue#227, p.44]

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]

A fight with an ordinary enemy whose level is slightly higher can drag on for minutes, especially if you’re fighting it alone. The combat itself is also rife with problems: sometimes main character even fails to draw his weapon, or locks onto a far-off enemy, while another already is eviscerating him in close combat. [Issue#226, p.64]

Compared to the original game, digging became a far more linear experience. That doesn’t mean that exploration element is gone, but it’s definitely different: now you need to keep an eye out for cracks in the rock that can be cracked open to reveal secret areas. [Issue#226, p.48]

Unfortunately, Spellforce doesn’t qualify to be neither titular nor spiritual successor of the series. It’s made by different people, on a different budget, and let’s be fair – the times are different too. [Issue#226, p.52]

In original SPAZ you could tell at a glance what enemy ship’s armaments are and what to expect from him. Now, every ship looks like a barn with Christmas lights on it, so the best tactic is to turn broadside to it and just watch HP bars dwindle. [Issue#226, p.62]

Only the nostalgic levels really work, but if you want another run across cult classic Green Hill Zone, you can always launch Sonic Mania that came out back in August. [Issue#226, p.59]

A game that’s far more pleasing to look at than to actually play. [Issue#226, p.67]

Spiritual successor it may be, but Road Redemption does one thing very differently: unlike Road Rash, it offers a roguelike experience with procedurally generated mini-campaigns. [Issue#226, p.56]

Instead of coming up with their own concepts, creators of Oure borrowed ideas from Shadow of Colossus and Journey. Too bad that they couldn’t even copy them properly, much less come up with their own stuff to let their game stand on its own. [Issue#226, p.60]

Nominally, our task is to collect stars, but Ode isn’t as simple as it looks: each planet is filled with music. With a touch, you can make things like mushrooms and corals join your orchestra and throw a party the world has never seen. [Issue#226, p.40]

In an effort to make players shell out for microtransactions, developers ramped up the difficulty, which led to a surprisingly enjoyable result – it’s the first time we get a relatively difficult NFS in recent years. [Issue#226, p.44]

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]