Still, the combination of smooth graphics, detailed modeling, and authentic audio does make aerial combat feel electrifying, wind howling in your ears as your guns punch holes into enemy fighters under a clear sky. Experiences like this are rare enough that it's worth climbing into the cockpit, as long as your stomach can handle the turbulence.

The lack of content is worrying and desperate at times, and I'm unsure how or even if Unbroken can shake up the formula and introduce something fresh to keep people returning to this game hour-after-hour. It's a fantastic Wizarding World adaptation and a brilliant take on Quidditch, but that's all it is.

It's a story that will give you a few hours of fun, but won't be too memorable either.

God of War: Sons of Sparta is an underwhelming experience. I had expected more solid craftsmanship and a lot more flair from the first spinoff since 2010. But Mega Cat Studios, Barlog and Santa Monica shouldn't lose heart, because the idea is good enough. I just expected more from the execution.

Lunar Lander Beyond struggles to entertain and engage the player, mostly due to the fact that the core and base gameplay feels outdated and sluggish. While we can all thank Lunar Lander for being the predecessor to Asteroids, in the year 2024 that unfortunately doesn't make me want to play or dive back into this game any more.

I think we should all reflect on the situation of this type of video game. We see too many similarities between them, and that is understandable; it has always happened in all artistic disciplines. But with animatronic or semi-humanoid doll games, since the release of FNAF, we have seen how they have become a kind of golden goose: a resource to cling on to when you want to develop a horror project. And I think we have lost a bit of the essence of the genre that characterised great titles, be they video games or other audio-visual products. Silent Hill, Amnesia, among others that may come to mind, played with the psychological component, seeking to unsettle the player beyond the simple scare. Today, on the other hand, a few jumpscares are enough. Finding Frankie is a victim of this current moment. Surely the studio has good ideas for future projects, and it's always better to hope that the next title will surpass it. But we need a paradigm shift for the horror mainstream to make another 180-degree turn.

I'm glad I finally got the opportunity to indulge in the fourth instalment of this beloved game series even though it really feels like it's old at its core, with the problems from that era of messy game mechanics and frustrating backtracking clearly shining through.

What we ultimately have here, what you're being asked to invest in, is the cover band version of Ad Astra. It's a gaming experience that feels as though it's been held together with duct tape, and only in fleeting moments does the narrative emerge that made me forget these otherwise obvious shortcomings. It's a shame, and I take no pleasure in sending a talented studio back to the drawing board, but I cannot recommend Aphelion, not even to those who pick it up "for free" via Game Pass. It simply isn't worth your time.

If Savage Level can improve how this game feels to play, reducing some of the irritable frustrations, then I do believe that Flint: Treasure of Oblivion can entertain for its short duration. But as it stands, especially for players on console or intending to use a controller on PC, there's simply too much to be desired from this game as of the moment.

Forspoken is fun to play most of the time, but it's a damn shame that the game's remaining elements eagerly attempt to ruin that enjoyment at every turn.

The storyline is compelling, the art style striking, the gameplay systems simplistic, and the performance so accessible that you could probably run this game on a burner phone. It's these strengths in mind that make me disappointed that the game can be such a frustration to actually play, because the movement and the rigidness of the deduction suite dramatically impact the amount of fun you can have while playing Chronique des Silencieux.

The lack of depth makes Warlander a solid but ultimately forgettable experience, and if Toylogic wants this game to be a success in the months and potentially years to come, it's going to need a significant amount of changes.

Among other roguelikes, I can't say that Dust & Neon stands out in any way, as it relies on its charming theme and aesthetics while unfortunately never being particularly entertaining to actually play.

This is not a game for both children and childish adults, unlike the Lego games, which are great for both. Goosebumps: Terror in Little Creek is simply too simple to be entertaining for adults as well. But if you have someone at home who loves the Goosebumps series, this game could be a good joint project in front of the screen, now that it's slowly getting colder and darker - and scarier - outside.

I don't think Skull and Bones is as rotten as some of the other live service games we've seen in the past. Assuming it survives a few years, the addition of a variety of new content can work in favour of this game, filling out its world and making the experience less dreary and repetitive. There are core elements that work and show lots of potential, but right now Ubisoft hasn't given them much of a leg to stand on as everything around them is poor and not befitting the standard of what you'd expect from a AAA production.

Admittedly, the game is definitely not for the faint-hearted, who don't like being as powerless as Katja is at the beginning, but if you like exquisite dystopian horror atmosphere, then this is one of the best games in the genre since Alien Isolation, in my opinion. In any case, I was on the edge of my seat the whole way through.

There was a nerve to explore, but instead we get slapdash jump scares that fool no one. It's a shame, because the game is really nice at times, but never quite becomes anything more at any point. Therefore, I cannot in good conscience recommend Bad Cheese to anyone, except perhaps for a quick look at the aesthetics.

I want nothing more than to like Alone in the Dark, in fact it was one of my more anticipated games of March, but the more time I've spent with this game, the harder it has become to do so. Sure, updates and fixes will address the performance issues and perhaps even fine tune and improve the enemies, combat, and ammo economy, but there are more significant core elements that require more work with this game.

The Stone of Madness is not made for everyone, or maybe not everyone is made for The Stone of Madness. But out there, among the masses, there are some people who are made for this game, and they will go crazy for it.

Beyond the shrine copies, though, I lack the real drive to want to keep playing. The cheap framing means that there's no spontaneous joy of discovery and the skill tree never fundamentally changes the battles; but at the end of the day, pure knock-off copies like Kaku: Ancient Seal aren't designed to be very good. It's enough that they're just good enough to keep the grandchild from crying on Christmas Eve and to keep the grandmother confident enough to buy games in the future.

I love the concept of this game and I think it has potential for the future, there are just simply too many areas that all work against each other for God of Rock to be able to stand tall on its own right now.

The story is strong, the characters are good, and the atmosphere gets better the longer you play. The two games are very similar. The first was messy but beloved, and the same can be said about the sequel. It has its flaws, especially in the combat system, but it also has soul and charm. If you can look past the technical flaws and focus on the story and the abilities instead, this is a refreshing breath of fresh air in the genre.

That "make or break" statement from the developers really made it seem like we were going to see something very special, which we haven't. Some prettier animations and smarter quarterbacks don't save this from being an okay game at best.

It's passable, all the way through. The matches are okay in terms of entertainment value, the game feel is okay and the developers have done a decent job of building their own hero party based on the fact that Blizzard is behind, but there is also a lack of intrinsic value here and given that they have borrowed so freely from Paladins, Overwatch and even Lawbreakers and thus failed to build their own identity, there is no reason for me to continue playing - when I can continue to enjoy the originals instead.

Reigns: The Witcher is just more Reigns. If you still find this gameplay formula fun and entertaining, there's a lot to love, but if you think it could use a more significant overhaul, this instalment won't exactly impress you much more than the other highly similar chapters did.”

All in all, Wreckreation is an arcade racing game that takes good advantage of the "creation" part but does less well when it comes to actually competing and driving. After cruising around the large map and discovering most of it, playing with the objects at my disposal, I've parked my car for good and don't regret doing so.

Just as the game itself is half-finished, this text is a bit like that too. There is also content that I didn't even get to experience, and even though it's a game that was started by one person, it has still been under development for such a long time that such a big game-breaking bug shouldn't be able to happen. The positive thing about all this is that there is still something worth experiencing, and I will continue the adventure all the way to the end once it's fixed.

Sniper Elite VR: Winter Warrior mixes a solid campaign with some fun setpieces that feel just like the thrilling experience of the traditional game. Yet, with some clunky controls and visuals that often feel more okay than anything else, it can't fully reach its greatest heights.