Knights Contract reminds me of that friend from high school-I think maybe every guy might've had one like this growing up-who was way too into wrestling. For the most part he was a great guy, except for the times when he'd decide that a casual conversation was a perfect opportunity to throw me into an inescapable armbar, on which occasion I found myself wishing he was a dead person.

Reservoir Dogs the game takes a groundbreaking film and jams it into a formula it wasn’t meant to fit in the first place. Some heist movies don’t have heists, some stories are told out of order, and some movies aren’t meant to be games.

The best twin-stick shooters made up for their lack of 3D by adding personality, gameplay variety, and over-the-top ludicrousness. Narco Terror decided to add the third dimension, but then left out anything that might make someone want to play. An interesting choice, but not a worthwhile one.

[A] poorly-designed, buggy mess.

The production values are impeccable and it runs perfectly on the PS4 Pro/PSVR — if there was more meat to it, I’d call Wolfenstein: Cyberpilot one of the most enjoyable VR cockpit games around, but with such a paucity of content, it doesn’t justify even a budget pricetag.

I tried playing sober for the first few times, but I just couldn't get into it. It took a bottle of wine and a few shots of Southern Comfort to inspire me to play long enough to come to the conclusion I've come to with this game: Galerians: Ash feels like one bad hangover.

Even if its opinion is a little simplistic ("Drugs have short-term benefits and long-term consequences") and awkwardly included in the game, at least there's an attempt at a message, which is more than most games manage.

This third chapter shows more promise than both of its predecessors combined, but serious flaws still make it hard to endorse.

Don't get me wrong—I'm honestly a big fan of the Hyperdimension Neptunia games, but Hyperdimension Neptunia U: Action Unleashed! is the dullest and buggiest thus far.

Players who haven't started (or finished) Fallout 4 yet will likely get more out of Wasteland Workshop than I did, but this content was too insubstantial to keep my attention for long.

If nothing else, Night Trap: 25th Anniversary Edition understands that it’s more of an oddity than a classic. A set of bonus materials offer insight into how the game happened and what the public reaction was to it at the time. It’s probably more interesting than playing, which is just as fundamentally ill-planned now as it was back in 1992. Without any changes made to improve the experience, Night Trap is more of a nostalgic conversation piece than an experience capable of entertaining and engaging players.

I can’t make too much of the annoyances of the poorly-tuned jumping or terrible collision model. Even if The Secret Mine had rock-solid code, that foundation would be supporting an edifice of sand. Toby: The Secret Mine adds nothing of value to Limbo’s formula and accomplishes far less artistically than its progenitor. Even if it were better to play, there would still be no reason to play it.

With difficulty leveling, or at least the ability to save SOME of my progress, Subaeria could have been an enjoyable romp. As it stands, I’m glad to break the cycle of die, restart, rinse, repeat.

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.

Cute but ultimately forgettable, Animal Gods is a slow, short ride that some will enjoy, but it's not much more than a pleasing time-killer that's over before you know it.

Overall, Jump Force feels less like a celebration of beloved anime franchises and more like a half-assed attempt to cash in with the widest fanbase possible. With other great crossover fighters like Super Smash Bros. Ultimate and Injustice 2 out there, it’s hard not to think that these iconic characters deserved better.

It portrays the killing of specific, theoretically real (in that they're virtual stand-ins for the actual soldiers that fought in the war) people as nothing more than a gruesome shooting gallery...At some point everyone has to decide when enough is enough. And now I have.

Those Who Remain is a morally shallow experience with a repetitive plot. A few decent puzzles can’t rescue this otherwise-flat experience, and I was glad to be done with it when the credits rolled.

That was the end of Trulon for me, and I’d have to describe it, in total, as being the videogame equivalent of an ellipsis — it’s just an empty pause with no conclusion. Everything good about it is squandered by poor craftsmanship, and in its current state it should be avoided at all costs.

Overall, Fast & Furious: Crossroads is a fabulous celebration of the sloppy, sometimes-inexplicable dumbness, sometimes-inspired madness of the films it shares a name with, and I loved every minute of it.

While I can imagine how Portal may have inspired the team to expand on its concept, in the end, all I wanted to do was play more Portal.

As a whole, Adam's Venture Chronicles is a flawed game that appears capable of so much more.

The campaign can be finished in about seven hours without any real difficulty or climax, and it holds no replay value beyond achievement hunting. The Unexpected Quest does scratch a certain itch for the good ol’ days of the RTS genre and the lack of difficulty makes it a solid buy for those who aren’t genre vets, but with just a little more on offer, this could have been a must-play.

It’s punishing to go through what Vane offers without even the slightest understanding of what Friend & Foe’s grand vision was supposed to be. I went into it with no prior knowledge about the game, and I got as much out of Vane’s final cutscene as I would reading a paragraph of Mandarin. Maybe there’s a secret ending that I missed or a subtext that re-contextualizes the bizarre events that unfold over the course of this brief experience, but until I hear about it, the only thing clear to me about Vane is that I didn’t like it.

Because its worlds are so expansive and fascinating, and because moving across them is such a pleasure, Corpse of Discovery might have been an all-time great had it been a straight exploration game. Instead, it grapples artlessly with a theme that has been done to death.

Although The Amazing Spider-man 2 isn't a catastrophic disaster by any means, there's also absolutely nothing to recommend it.

Immortal’s pursuit of the hardcore label speaks to a certain presumptiveness in its design – that its impenetrable nature will be offset by a community looking for new challenges to overcome and new mysteries to unravel. Dark Souls got away with that approach because every aspect of it was so meticulously fine-tuned. Immortal’s extreme difficulty only highlights how fundamentally its ideas don’t run together. If there’s anything worse than a bad game, it’s a hostile bad game.

While I found the subject matter and the characters to be off-putting and offensive, the real killer here is the sloppy, cumbersome gameplay that, even if one thinks the poor attempts at humor come off as amusing, will render the drive to play it obsolete. The five hours I spent playing Milanoir was a miserable, groan inducing slog that I don’t wish upon anybody. It may be an homage to films of the past, but what it is for me was truly, truly awful.