The Sinking City is a perfectly acceptable detective game that gets bogged down by mediocre open-world adventure. While I respect Frogwares’ ambition to explore new areas, with results this shoddy, they should have stuck to what worked. Without tacking on hours of worthless travel and open-world nonsense, Sinking City would have been a high-quality cosmic horror mystery. In its current form, I can’t recommend anyone but the most devoted Lovecraft fans make the journey to Oakmont.

Everything except Altair's athletics feels underdeveloped and painfully shallow, making the end result an overhyped attempt to recoup the development costs for something that's little more than an extended tech demo.

XBlaze - Code: Embryo isn't the most offensive visual novel I've ever played, but it's ultimately dragged down by a lackluster story, dull characters, and the infuriating TOi system.

Fans of the blockbuster might enjoy the set dressing applied to this pinball table, but those looking for a solid pinball board underneath the veneer might be left wanting.

It is a mere sheep in wolves clothing that uses only the most socially timid and comfortable clichés like cigarettes-for-trade and prison escape maps to paint a PG-rated teen-friendly novelty amusement park interpretation of prison life.

With an interesting main storyline, creative enemies, and fundamentally solid gameplay, it's too bad that that Arcania: The Complete Tale's technical flaws prevent it from being a must-play. There aren't enough decent action-RPG hybrids for console players as it is, and Arcania isn't going to do much to fix that.

It has great art direction, well-crafted early stages, and exciting boss battles. Sadly, all of this great work is upended by the introduction of these terrible water levels, and their inclusion makes Spinch just another retro platformer that misses the mark.

As it stands, the framework of a promising tycoon game flickers beneath the strobe lights, but it struggles to justify the cover charge. Moments of satisfaction are undercut by clumsy onboarding and a lack of personality, leaving the whole experience feeling flatter than it should. Unfortunately, Disco Simulator hints at a better party than the one it ultimately throws.

So the game doesn't have any real characters at all, the graphics are nothing special, and the story actually gets in the way of the gameplay... Now if someone would just make a game where these wonderful play mechanics made some sort of logical sense, we'd be cooking with gas.

Although I got a few good laughs out of the first hour or so, the appeal of calling men in turbans "bitches" while plowing through repetitive environments ran out long before the credits rolled. I walked away from the game bored and left it unfinished, having no regrets.

As it stands, Pid is a misguided platformer that is set to quickly disappear from memory.

The bottom line is that Resident Evil Zero's title perfectly describes the content and play value of the game itself.

The very definition of a missed opportunity. Thirsty mecha fans are still stuck in that same desert, and they’ll have to wait for something to quench their desires a while longer.

Let's Tap!, with its bright, accessible aesthetic and peppy, J-pop soundtrack, has a lot of potential. Unfortunately, I can only evaluate the game as it exists, and Let's Tap! has a few shortcomings too many to wholeheartedly recommend.

Despite featuring a gorgeous and carefully-designed world, Obduction fails to execute on its central identity as a puzzle game. And, when three quarters of the experience consists of walking from one point to another and sitting through loading screens, it’s difficult to imagine that Cyan Worlds respects the time of Obduction’s players. Returning the favor, I ended up having very little respect for their game.

Outward‘s main issues are that it’s an average experience with a lot of competition to contend with, and that it doesn’t lean into its core concept hard enough. It would never have stood apart from the crowd with its production values, but it had a chance (and missed) at making a mark by failing to establish a truly unique identity.

It seems a shame that this inferior sequel makes us all take turns.

Like its name vaguely suggests, Skydive: Proximity Flight doesn't quite hit its mark.

As an admirer of all things unusual and unusually entertaining, Rico's bizarre parachute tricks justify the four to six hours it takes to complete the campaign, but once the novelty wears off, there's not much here to merit a second glance that hasn't been done better by other games - mission accomplished, but just barely.

It's not a terrible bargain and certainly not the outright robbery that some DLC can be at times, but Return to Ostagar can't compare with the quality of The Stone Prisoner or Warden's Keep DLC missions.

It is a massive shame to feel like I can’t enthusiastically endorse Wartile — it has a winning visual style and the seed of a novel idea, but that seed doesn’t bear a fully-formed fruit.

As appropriate as it would be to knock Tsushima for being the same sort of boilerplate open-worlder that Ubisoft tosses out every few months, the truth is that I still got some entertainment out of roaming the pretty landscape and engaging in repetitive tasks at my own pace. That said, every time Tsushima subjected me to its dreadful story and the tedious critical path missions, my patience wore thin. Ghost of Tsushima is positioned as PlayStation 4’s last hurrah, and while it’s an underwhelming note to end on, perhaps a game that pushes technological boundaries while taking zero creative risks is a fitting bookend for this generation.

It’s a pity – thanks to fast action, tremendous atmosphere, and some genuinely clever weapons, Phantom Fury could be special, but it winds up as frustrating as it is enjoyable. At this point it’s a tough one to recommend, but I’m hoping that it can be salvaged with some patching and rebalancing in the coming months.

Perhaps all of the limp comedy wouldn't be so offensive if the game did anything new in the gameplay department.

Even if it had made serious strides over Far Cry 3, even if the gameplay held true to the series's core, even if its story weren't junk, even if it had been put together perfectly, I would still find Far Cry 4 annoying as hell. It's not just that Ubisoft can't execute; it seems like they can't design anymore. To compensate, they've just slapped whatever crap they can onto an open world in the desperate hope that large portions will make up for the flavorlessness of the meal. Instead, I got sick of chewing, and longed for the days when Far Cry just shut up and let me shoot some guns.

If the online multiplayer had modern social features and an engaging story worthy of the IP, Shadowrun Chronicles: Boston Lockdown would be as essential as other recent entries in the series. Unfortunately, the fundamental issues leave it hard to recommend. In lieu, I'd suggest replaying Shadowrun Returns and Dragonfall instead.

Despite all these issues, Dead Space 3 isn't a bad game—but it's not a particularly good one, either. The focus on co-op, attempts to ditch the horror elements in favor of more mainstream sci-fi shooter aesthetics, and the disjointed, repetitive feeling of the project as a whole prevent it from ever becoming something that pops.

Although I can genuinely say that I have great affection for the Disgaea characters and I had a blast going through the game once, the drive to unlock every ending evaporated almost immediately. Watching a game made of cut-scenes isn't bad if they make you laugh and bring a smile to your face, but watching the same scenes over and over and over and over and over because you can't figure out how to get to the new ones isn't an appealing proposition.

Heck, if this game had been released in 1996, it would have been a classic. But it was about eight years too late, and ends up only being good enough not to be a complete wash up.

When reduced to a puzzle to be solved rather than a world to be experienced, the emotional impact of Gods Will Be Watching evaporates, leaving the sense that it wasn't interesting enough to justify the amount of work that went into making or playing it.

There are glimmers of clever moments caught in a sea of busywork here, but take away the shoddy controls and the obsession with layered math problems, and what are we left with? Someone’s absurdist thriller mystery that is so esoteric that it’s hard to care. Honestly, I can’t recommend Lorelei and the Laser Eyes to anyone other than the most patient and experimentally inclined players in the world. For everyone else, heed my words of warning — sit this one out.

It's more fun than "State Of Emergency" (but then, what isn't?) and more interesting than "Hunter: The Reckoning" (if only because Ash is a more identifiable character than anyone featured in that game), but most gamers will have to ask themselves if that actually means anything since neither of those games were classics to begin with.

Although it's accurate to say that Prototype 2 is "an improvement" over the original, that's not the same as saying that it's a great game, or that it's even on-par with the kinds of things hitting shelves these days.

As the central deficiencies (car physics, handling, lack of challenge) also become more and more prominent with each race, most players will simply tire of its blandness, and decide to save the time Namco wants them to spend tuning their cars for an altogether better racing game.

This type of design is an infuriating and transparent attempt to pad out the length of the game by making simple quests take longer to complete. Worse still, the occasional need to fire off a spell or two is entirely governed by Akko’s magical potion supply, which can only be replenished by spending money earned by repetitively grinding dungeon battles. It breaks my heart that Little Witch Academia: The Chamber of Time turned out the way it did, because the aesthetic success is undeniable, as is APlus’ attempt to design something that functions on a deeper level than just delivering fanservice.

Although it acts as a wonderful selling point for anyone considering developing an FPS for the Wii, Red Steel is too much of an unsatisfying tease to succeed as much else.

There’s not much within the game that is poorly done, or even downright bad, but the problem is Nefarious tries to do too much, and in that attempt, ends up doing none of it exceptionally well.

While Cold War is a part of a series I would have said that I loved, I can’t fully embrace it now knowing that this work is trucking in harmful stereotypes via patriotic-tinged gameplay. A decent CoD multiplayer experience will likely emerge from the currently-underwhelming Cold War, but I’m going to seriously consider whether that gameplay is worth enduring (and supporting) the rest.

With more time and attention given to the writing, characters, and quests, it could have been a very special experience. As it stands, it's a forgettable detour through Averagetown that strays from the exceptional content I've come to expect from New Vegas.

Simply put, F1 Race Stars is the kart racing equivalent of a self-help seminar, or of a powerpoint on learning real estate sales. Like those sorts of intellectual death marches, it frequently made me yawn while playing and the whole thing has a painful sense of inevitability to it-which at least draws a further comparison with the sport on which it places primary focus.

It's not broken, and at times it threatens to be interesting to more than the already-converted, but it's utterly lacking in the heart and spark that helped other Compile Heart titles lineup transcend their inauspicious beginnings.

There’s nothing meaningful to recommend this title, and it’s easy to call it the weakest entry in the entire Kain series—an outcome that falls far short of the modern revival I had hoped for.

All Quantum Break made me want to do is invent my own time machine to go back and un-play this title, so I could reclaim the nine hours I spent on it.

Fans of ’90s-style retro-shooters might find Fashion Police Squad‘s offbeat and quirky approach to the genre to their liking, but there’s already a lot of stiff competition in the genre — it’s interesting, but flawed approach simply doesn’t measure up to the others already strutting on the catwalk.

It doesn’t really matter whether Five Nights at Freddy’s: Help Wanted is good or not — all that matters is whether the shocks it offers can startle the player. By that metric, it’s a passable success in docked mode. I won’t say the game isn’t scary, but I will say that it doesn’t have much to offer past that.

Anyone going into it expecting the bells and whistles of a "Half-Life 2" is going to be sorely disappointed. Anyone going into it expecting it to play anything like the table-top strategy game will be even more letdown.

It's not much of a rhythm game (or much of a game in general) but when taken as pure fanservice, it's pretty much everything anyone could ask for without doing an unfiltered Google search.

Overall, The Entropy Centre is a decent puzzle adventure that suffers from too much friction and an excessive runtime, and the individual issues are detrimental to the whole. A leaner package with fewer puzzles per chapter and more emphasis on the plot would have improved things – it’s a shame it’s not more compact and memorable experience.

I certainly appreciate what Deadfall Adventures was going for and I'm always open to adventuring on a less-than-AAA scale, but the over-reliance on shooting and the abysmal voice acting knock this afternoon-matinee romp down a few pegs.

Unfortunately, there’s not much to Crossout besides basic car combat and one humdinger of a car-making mode. A single-player campaign with some easy-to-get rewards would have been quite welcome, as would some personality enhancing its generic post-apocalyptic style, but it is what it is, and I got out early. Crossout has the beginnings of being an amazing game, but it’s just one more example of free-to-play design souring something that should have been sweet.

At the end of the day Vertigo seems to be a decent core idea for a game wrapped in a lackluster package. There have been other successful games in this genre but for me, Vertigo doesn't live up to that legacy.

Nairi: Tower of Shirin is a beautiful-looking title, but finishes feeling rather rough and unfinished. There are plenty of puzzles to enjoy, but the script takes some strange turns and I can’t help but feel like there should have been more to the story.

While Nemesis DLC adds some interesting twists for for endgame, it ultimately doesn’t seem to justify the add-on’s asking price. Stellaris overall already offers hours of interesting and engrossing grand strategy gameplay, but this addition doesn’t add much to what was already there.

There is simply no way to play this game comfortably while turning and moving forward.

With a bit of restraint and more focus on the types of relational challenges that it does well, Metrico would have been an easy recommend to fans of the fringe. In its current state, it's an aggravating equation that produces unhappy results.

Crash Team Rumble feels a bigger-than-average swing for the series, but one that — at this point — ultimately misses. That said, there are updates on the horizon, but I’m worried that it won’t be able to break away from more unbalanced characters and a general lack of content. Maybe Crash Team Rumble will end up like Fall Guys or Rocket League and go free-to-play at some point, but as it stands I’d have to recommend waiting for the game to bulk up a little before diving in.

Transformers might be a good purchase for crazy, obsessive fans of the license (like me), but for anyone who demands rich play experiences and balanced design, this is one of the few times that Optimus Prime has failed to complete his mission.

There is inspiration underlying this game; it's just too bad the promising first thirty minutes wind up buried under hours and hours of mediocrity.

Rage is a beautiful, totally decent first-person shooter with some driving elements thrown in to spice it up a bit. Based on it's developer's pedigree, the fact that it's not more than that is exceedingly confusing. There's really no obvious attempt at innovation here minus the marrying of Doom to Twisted Metal.

Overall, Dusty Revenge feels like a game that needed just a little more time and polish. If the combat could be tightened, interface bugs fixed, and load times could be reduced, this would be a solidly enjoyable title. Perhaps patches will be released to address these flaws, but as it is, Dusty Revenge takes a shot at 2D brawling and misses the mark.

There are a lot of good things going on in Winter Ember. Its ambiance is strong, the freedom to move through levels in multiple ways keeps progression interesting, and the stealth mechanics are solid. However, these positives are consistently overshadowed by performance issues, clarity issues, or weak combat. I enjoyed sneaking around with Arthur, but unfortunately, Winter Ember still has a way to go before it can be considered an easy recommendation to stealth fans.

Despite being frequently infuriated, I probably would’ve pressed on and rolled credits had I found a single element that captured my attention. Unfortunately, Jay and Silent Bob: Mall Brawl is a serviceable beat-’em-up at best, and any real enjoyment will come solely from nostalgia and callbacks for fans of the IP.

Auto Age is a fascinating misfire, making one weird mistake after another. This talented group of developers generate a wonderful setting and engineer great control mechanics for exploring a world, and then cram it all into the most ill-fitting genre possible for the foundation they’ve laid. I don’t know what convinced them to aim so low with their concept, but Auto Age: Standoff is an experience that’s only a shadow of what the intro and tutorial suggest it should be.

Attack of the Earthlings is by no means a bad game — its personality and anti-capitalist, anti-human stance works, and the ideas underlying the mechanics are well-thought-out. Unfortunately, the execution, lack of optimization and muddy presentation undermine a title that was already going to struggle in a genre well-stocked with plenty of superlative examples.

Without a story or even a philosophy to fall back on, Ovivo is forced to stand on its gameplay, its art, and its music. At times, those all sync up and produce a flowing, memorable meditative experience. Mostly, though, the zooming and fiddliness get in the way of the art, or the dull bits of the art get in the way of the experience. For a truly minimalist and meditative experience, ditch the game and just grab the soundtrack.

The lack of ability to control the pitch in the air is incredibly frustrating.

Uppers is a tough game to recommend. As much as I love the settling and style, the gameplay, writing and progression path leave much to be desired. It also becomes repetitive within just a few stages, and even showboating for the girls adds nothing to the package. It’s a shame, really. Uppers gets the style half of the experience right, but it really should have spent more time on the fundamentals.

While there’s nothing terribly wrong with The Alliance Alive, there’s nothing particularly right with it either. Those who want some JRPG gristle to chew on will find it adequate, but anyone who missed it last time can skip it without regret this time, too.

Scribblenauts Unmasked has a mildly diverting quest mode, but everything else about it is so sloppily constructed as to be borderline unplayable.

I left Whispering Willows with the nagging feeling that it could have been elevated if the devs had added just a few more levels, a few more powers, and a few more story twists to bring it to a satisfying conclusion. In the end, I was... haunted... by the wasted opportunities.

For those who thrive solely off of the thrills of putting points into stats and watching numbers go up, Hexyz Force leaves little to be desired. For the rest of us, Hexyz Force has equally little to offer.

The game, like a movie trailer, provides various disjointed snippets of action without delivering the complete picture.

Although several of its elements still need some work, I like what Project Root is trying to do overall, and I appreciated the effort to blend non-traditional elements into the shmup genre. There's a lot of potential for the free-roaming shooting, leveling-up, and dual-layer combat, but none of it is quite there yet.

Maybe this DX is redefining film grammar for videogames. Because in this case, director's cut means the same damn thing, complete with glitches and issues of the first game.

Efforts to align Moon Diver's classic gameplay with an environment 20 years removed from its progenitor have only done it harm. The greatest shame is that the game did not fall victim to the caprice of an indifferent natural order; Moon Diver is betrayed by the deliberate adaptations of rational designers.

It feels strange to say, but Space Crew is the rare example of a sequel that feels like a step backwards. I appreciate that it’s less punishing, but with fewer elements to manage and less variety in the missions, it could pass for a prototype of the game Runner Duck made two years ago. Too much of the formula has been stripped away and this overly-simplified experience suffers for it.

This is the first installment of F1 since the reboot of the real-life competition, but it is also the first installment I’ve played that does not feel like a worthwhile reboot in the slightest.

Moero Chronicle H generally gets the basics right, but that foundation is undercut by repetition, a lack of nuance in the combat, and a botched translation that makes it tough to care about anything that’s going on. It delivers a ton of fanservice, and the core is at least competent, but it doesn’t even attempt to reach beyond such an unambitious goal.

While I admire any indie developer with the ambition to take the Souls formula on, Immortal Planet is a surface-level imitation of an iconic series lacking the polish, variety and painstaking detail of its inspiration. This game takes a lot more than it gives.

Rainbow Skies is hampered by its weak narrative, overly tight economy, and sub-optimally tuned combat. What really kills it, however, is the vast amount of time it sucks up by forcing both the story and the combat to move at a snail’s pace. Rainbow Skies demands a ton of time from the player, but offers nothing of equal value to reward that investment.

Under all the questionable choices, cut content and overall lack of value, Dead or Alive 6 is still a decent fighter. That said, many of the problems are hard to look past, and it feels like a bare-bones effort given the amount of recycled content on display. With an inferior roster, dull stage design and the hard reset on purchased content from anyone who was crazy enough to buy into the exorbitant amounts of DLC released during DOA 5‘s lifespan, it’s hard to recommend Dead or Alive 6 as it currently stands.

Pixel Heroes has playful writing and art, but there isn’t enough here to warrant sticking around for more than a few hours of retro-themed dalliance.

All I can think about is its similarity to FF7, and how stale and unoriginal the whole experience is. This game is such a rip-off of Square's FF7 that I can't believe Sony hasn't been taken to court for copyright infringement.

Pop-Up Pilgrims has a lot to like — cute and varied character design, appropriately festive music, colorful, animated visuals that overflow with sakura blossoms. However, I simply couldn’t look past the struggles I had with the gameplay. Due to the clunky, headset-guided controls and taxing physical requirements, Pop-Up Pilgrims would probably be a better experience without VR.

For a title on Switch, it’s great — do a run or two while waiting in line for the bus or commuting on a subway and then set it down. On console or PC, I’m not sure it would be worth the pricetag.

Plunder-by-panic and slippery experience points are intriguing, but these innovations fall flat without solid, bug-free foundations to support them.

I have no doubt that the developers of Rad Rodgers meant their work to be a loving tribute to 16-bit platformers, and as long as the game restricts itself to fast action, it’s a perfectly fine experience. The puzzles and item hunting just don’t work, though, and those designs shouldn’t have made it through testing. Rad Rogers never rises to the level of the games it’s aping, which renders it inessential, because what’s the point of an homage that’s not even as good as its inspiration?

There are tons of games out there that play fine, but Atomicrops offers little to make it a memorable, worthwhile experience amidst so much stiff competition on the Switch. I’m guessing that with another year and a few content updates, Atomicrops will be a fantastic little actioner, but in its current state it comes across like an Early Access release that’s hit the eShop too soon.

Tron: Evolution has too much going for it to write it off as another inspiration-free paycheck game, but I can't help but feel that if the developers had had another six months and perhaps a little more freedom to stray from the film's narrative, the end result would have been much better.

After having gone through as much of the content as I could without teammates, my take on Raiders of the Broken Planet is that it’s a great B-tier action title shoehorned into an episodic games-as-service model that absolutely does not fit. If it was a standard single-player or couch co-op effort, episodic or not, I’d have no problem recommending it to folks who don’t mind rough edges wrapped in style and character. However, I’ve got serious reservations that this project could have ever worked, and these concerns seem founded since no one’s playing. Broken Planet is a great property with a lot of potential, but it’s in desperate need of a structure that makes more sense.

It feels that the experience is always a small step away from becoming something more stimulating. It has the right ideas, but as a turn-based game, Conqueror 940 AD fails to add the addictive element. After too short a time it becomes predictable and rote, and the player is left with the feeling that the entire game was a wait loop of choices without any truly challenging or dramatic moments.

In its current state, Destiny feels unfinished and unfocused, but I imagine that things will be looking quite different in a year's time.

I’ve seen articles mentioning that Gorogoa was created by a single man over a number of years, and it’s clearly a monumental labor of love. I want to respect that and I appreciate the amount of work that must’ve gone into this title… I honestly can’t even imagine. That said, as someone coming to this project knowing nothing about it beforehand, I found the Swiss-watch mechanics and detailed illustrations to be impressive, but the experience fell short in all other aspects. I’d love to view an edited Let’s Play of all the sequences being solved in order, but I have a tough time recommending it as something to play.

It's inherited all the original game's problems—a major feat, since it's developed by a whole new company—and lost some of its charm in the process.

A bit of a disaster...Why? It's a half-assed, crudely cobbled-together product prone to crashing, lockups (and as of press time) absolutely non-functional multiplayer.

With a better upgrade/weapons system and slightly nerfed bosses, Let Them Come would be a fine experience — the kind of quick diversion players could drop into for a few minutes of alien slaughter here and there. Unfortunately, at some point in development the decision was made to prioritize challenge and droning repetition over playability, and the result is a title that can only be enjoyed by players who like spending time with games that hate them.

It's still worth it to see what it brings to the genre, but don't expect to finish it without significant financial investment.

To be perfectly blunt, XCOM 2 is a pretty bad experience right now, and the best advice I can give is simple: wait for upcoming patches to fix things before buying. There's a much better game hidden somewhere beneath the performance issues and gameplay flaws, and it's a shame.