Lovecraft’s Untold Stories was a low-key delight. Yes, the gameplay was sometimes stiff, but the sheer depth and the developers’ obvious passion for strange fiction showed through, creating a memorable experience. LUS2 has none of its predecessor’s style. With its lack of compelling narrative and overcomplicated crafting system, Lovecraft’s Untold Stories 2 is as unfortunate a sequel as I’ve seen, dropping almost everything that worked about the original and expanding on what didn’t. It’s a disappointment, and I can only hope that if this franchise continues, the developers manage to rediscover what made the first one special.

While my attention span is getting short and Rave Master: Special Attack Force! never really amazed me, I had fun playing it. I liked the button-mashing.. I liked experimenting with new moves.

It's an intriguing and ultimately fatally flawed entry in an already clogged genre, and a warning to other companies who would use games as a commercial vehicle: please be sure you can make a decent game, or it's worse than no advertising at all.

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.

While I’m sure Warplanes works fine on phones and tablets, it needed a lot more work to get console-ready. There’s too much repetition, too little progress, and no narrative to give players a reason to keep plugging away. In fact, so little work was put in that the mission generation would occasionally toss out complete nonsense like asking the British to blow up an oil refinery in rural England. The developers couldn’t get something as basic as this right, and that same lack of effort is indicative of the entire experience.

Theseus provides a stunning, atmospheric world to ogle in virtual reality that ends too soon, all the while mired by clunky controls and instant deaths along the way. Although based on Greek myth, Theseus proves to be far from mythic.

While it manages to offer decent characters and an interesting battle system, MeiQ: Labyrinth Of Death is a disappointment overall. With so many strong entries in the dungeon-crawl genre already, one that only goes half the distance is impossible to recommend.

My advice to Team Soho would be brief: raze the series to the ground and start anew. This engine is long past its better days.

The characters are there—now someone just needs to figure out how to create some gameplay that makes the experience fun and not a chore.

With hundreds of weapons to collect and different ways to play, RemiLore’s charm makes it enjoyable in short bursts. That said, it definitely has major flaws and requires a great deal of patience — especially in the early going — to get the most out of the experience.

It's a stale, ugly revisiting of a genre that should be put deep in the ground, with no story or aesthetic styling to redeem it, a hollow exploration of ground that's already been trodden flat.

Neverwinter Nights deserves better than this tragically compromised port for the Nintendo Switch. With no supplemental content to help explain the tabletop fundamentals or to describe the immense impact it had when it originally released, players are left with precious few reasons to struggle through a creaky real-time combat engine hampered by countless technical hitches and clunky controls. Even though its tale of plague-ridden devastation is especially haunting with the coronavirus lingering at the forefront of our collective discourse, everything else about this game fares poorly in modern times.

So Medal of Honor: Vanguard is just a waste of time and money. A tedious plodding waste suitable only for those absolutely desperate for another first-person shooter to play on their Wii.

By Perception’s conclusion, I’d witnessed several generations of families who’d lived in this mysterious estate, how they meshed together and found Cassie’s link to them. Some were more interesting than others, but Perception ends up dragging on for too long with too little intrigue to carry it through. Had it been half as long and experimented more with the applications of Cassie’s blindness, Perception could’ve been a fascinating experience. What I actually got was the chance to stumble around in the dark for six hours, which is about as enjoyable as it sounds.

Half of Adr1ft is a fantastic experience. The spacewalking segments are like nothing I’ve ever encountered in a game before—freeing yet claustrophobic, beautiful and terrifying. If it was judged solely by how well it captures the mystery of and fascination with the great emptiness beyond the earth, it would be a success. This isn’t just a floating sim, though, and once simply being in zero-G gets old, there isn’t a compelling reason to get through the rest.

With another year in dev and refinement of story, gameplay, and technical aspects, Toren might blossom into something special. As it stands, it's a work-in-progress sent to market too soon.

The monsters are creepy, the combat is great, and the setting is endlessly explorable – Achtung! Cthulhu Tactics has plenty going for it, and yet it still feels underdeveloped. The RPG elements are thin, and the story is little more than a skeletal justification for the next skirmish. There’s plenty of stellar design here, but it feels like a preview of a more robust experience. It’s a fantastic use of the Cthulhu Mythos and a solid game, but I’m guessing the franchise will have more to offer next time.

With a few decent plot twists and likeable characters, Gal*Gun 2 is a satisfying relationship comedy with a solid rail shooter at its core. With multiple endings and dozens of girls to meet there’s a robust amount of content, never falling for the trap of offering just a handful of missions with no reason to come back after a couple of hours. As games about supernatural romance go, it will be difficult to find one cuter or sweeter than this one.

It’s a bold, funny, scary, unbelievably intense way of getting closure for the previous game. As such, it’s a masterpiece that’s difficult to recommend because it can only be fully appreciated by those who are already deeply invested in Zach’s story. Still, I have to recommend it because it provides a more powerful ending to the Deadly Premonition story than I ever would have expected, and a better experience than we probably deserve.

The closest thing to a complaint I can muster up for Spelunker HD is that it has a sparse online community, but that's almost like criticizing a masterful painting because it hasn't been seen by enough people.

While it’s far from the most attractive FPS I’ve played this year, Verdun gets its setting and tone incredibly right. There’s a moment in every match where I found myself peering out from behind cover, looking down my rifle, desperate to catch sign of any movement in a field of debris — a moment where the game completely justifies its setting and mechanics. Verdun is rough at times and only half of its modes are any good, but those special moments it offers are rare enough to deserve attention.

Yes, the Switch has a solid touchscreen, but it handles controls so much better with a joystick and buttons. Not even providing the option to use the joycons in handheld is an unfortunate omission. Just a few stages shy of the end of Solar Flux, I gave up directly due to the lack of controller support in handheld mode. As somebody who primarily plays the Switch undocked, it’s too big a problem to look past.

After my time with Rise of the Slime, I was left feeling a bit confused. It’s too simple and the graphics don’t seem like they will appeal to fans of the genre, yet it’s too punishing and difficult for casual players or those unfamiliar with the deckbuilders. I’m not sure of who it’s trying to target, but my guess is that it’s a bit off the mark regardless.

The gameplay lacks any redeeming qualities, and would have been behind the curve in the 16-bit era. Today, there's just no place for a game like this at all.

It gets halfway there with an elaborate backstory and interesting premise, but it gets too stuck in standard FPS design conventions to ever really distinguish itself as anything special.

Unfortunately, this version of Mafia II feels like a barely-touched-up version of a last-gen game that constantly tested my patience and despite my love for the script, I can’t recommend that anyone play through hours and hours of a mediocre, buggy mess just to see the cutscenes. In its current state, Mafia II: Definitive Edition is not worth a player’s time or money — without any further improvements or substantial patches, this one needs to sleep with the fishes.

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.

An almost completely successful swordfighting simulation. It does a better job with its setting than any game I've seen, and even though it's a little limited in scope, it's satisfying and effective at what it tries to accomplish.