Based on what I played, 007 First Light is shaping up to be a phenomenal IO Interactive game through and through. It takes everything the developer has learned from many years of creating, refining, iterating, and evolving Hitman games, and puts the pieces that make the most sense together to create a James Bond game that could end up being one of the best games of the year, and also the best James Bond game ever created. 007 First Light could be the culmination of IO Interactive's vision for modern sandbox action games, as well as a spectacular payoff for a 16-year audition to make a James Bond game. [Hands-On Impressions]

I spent a lot of time just exploring Forza Horizon 6's world without a waypoint on the horizon or events to be distracted by, and I was surprised by how therapeutic and engaging the experience was. It goes to show just how much attention you can draw through a setting alone, letting the backdrop do most of the work when there's little more than weaving through traffic to focus on. There's going to be a lot more to the final product, with many, many more races, new car meets, and even more ways to enjoy Japanese racing culture at its best. But even with all of that stripped away, Forza Horizon 6 is delivering on its setting alone. And after waiting all this time, I'm so excited to see what other surprises it has in store. [Hands-On Impressions]

Menace is off to more than a running start already. The turn-based tactical action is some of the best I've played lately, and I love the distinct, voiced squad leaders, as well as both the variety of missions and enemy factions. The biggest missing piece is really story and context. It's hard to get too invested in what's going on in the Wayback when I'm not even really sure why we're here yet. But for Early Access, this is a truly impressive effort, and there's plenty of fun to be had already. [Early Access Provisional Score = 80]

Minecraft is a forever-game for many people. Hypixel Studios has ambitions to get there, too, and the foundational gameplay here is solid enough--albeit partly due to the strict blueprint it followed--that success is at least possible, if not guaranteed. But Hytale will only find lasting success once it first finds its own path forward and does more than just rebuild experiences its players already had years ago. [Early Access Score = 60]

As the MK3 arcade cabinet once said, there is no knowledge that is not power. With everything Digital Eclipse packed into the collection, there's a lot of power to be had. [Review in Progress; Provisional Score = 90]

There is a nugget of a good idea here, and one that is interesting on paper. Unfortunately, Fire Emblem Shadows' most innovative ideas bump up against its mobile and free-to-play nature, resulting in a game that is both not for Fire Emblem fans and hard to recommend to anyone.

A Bomberman game without multiplayer is hardly a Bomberman game at all.

Because of its stronger starting point, Grounded 2 should wind up the bigger, better, buggier-in-a-good-way survival game. Its best new toys make survival gameplay much smoother and more enjoyable; the adolescent spirit that truly makes Grounded stand out in a sea of survival games is still on full display here, too. It will take some time for Creative mode to catch up and eventually surpass what the first game did for those who like to play this game more like an interior decorator than a hunter-gatherer. All of that means Grounded 2 is a good early-access game that improves on its previous version in some big ways, while still earning the label of being an in-progress experience. [Early Access Score = 70]

As someone who loves Lord of the Rings, life-sims, and cozy games, Tales of the Shire is heartbreakingly disappointing--so much so that I find myself genuinely wondering what went wrong. With such a strong premise, a solid team working on it, and what seemed like a concentrated effort being made to let this game fully cook before it was shipped, I’m ultimately confused by the finished product and concerned for what happened during production. Although Tales of the Shire has some charming ideas, dull gameplay, heaps of bugs, and a general sense of emptiness ultimately drag this once-promising life sim down to the pits of Moria.

Even if you manage to achieve a stable experience, MindsEye still commits the cardinal sin of being mind-numbingly boring. More than anything, it feels like a game firmly trapped in the past. It wouldn't have been good 15 years ago, either, but perhaps some of its design choices would have made more sense. As it is, issues like broken AI and uneven car physics simply exacerbate the problems with its archaic and insipid design. Impressive visuals can't compensate for a lack of substance, whether that comes from its pointless world, tedious combat, or any number of other egregious shortcomings. If you're looking for quality, cast your mind's eye elsewhere.

I am optimistic about the swings that Bungie is taking with the expansion, especially those that overhaul the core game. You're likely to find me spending too much time fiddling with weapon mods at the shooting range when The Edge of Fate launches on July 19. [8-Hour Hands-On Impressions]

As a whole, my time with InZoi was underwhelming. Though I know more items and cosmetics are headed to the game and that there's plenty of time and potential for its developers to focus more on the game's social aspects, as it stands right now gameplay isn't enjoyable and I worry that InZoi won't place as much importance on its social-simulation aspects as I'd prefer. Though I'm opting to remain hopeful, after spending a few dozen hours with InZoi--and despite my absolute delight at getting the opportunity to review a game I have been eagerly waiting to play since its announcement--I've come to the conclusion that I most likely won't pick it up again until it's spent far more time in development. [Early Access Provisional Score = 60]

The body-swapping combat, RPG-like team of possessable people, the monster-hunting semi-paranormal narrative--they're all exciting until you engage with them a little, when they reveal themselves to be shallow and underdeveloped. The actual experience of playing Slitterhead is constant repetition of systems that aren't very engaging even their first time, across levels you'll see over and over again, telling a story that never makes much sense, with characters that feel like first-draft lists of stereotypes. Slitterhead has a lot of fascinating ideas and compelling gameplay on the surface, but beneath, it's just boring and banal--a bunch of scary-looking monsters who turn out not to be very scary at all.

With more attention to balancing and better, earlier explanations of how its puzzles, boss encounters, and items behave, I could see Funko Fusion eventually being the enjoyable, adult-oriented Lego alternative it wants to be. It needs some important fixes, but they don't seem like unattainable goals in this era of living games that are constantly evolving. The eventual widespread co-op functionality should hopefully make the game better all on its own, and if more helpful visual language and tooltips arrive soon, too, the game could be redeemed. Until then, however, this is one Funko product not worth displaying on your shelf.

If you've never experienced God of War Ragnarok, then there's a strong chance this port will satisfy you after the extended wait. It's just a pity it's not flawless as the extra time might have you expecting. [Unscored PC Version update]

Squirrel With a Gun isn't aggressively bad, and I didn't hate my time with it. It was basically just a thing that I did for four hours. Nothing about the experience really stands out; the whole game is entirely unremarkable and won't live long in the memory. It's kind of like seeing a squirrel in real life. You go, "Oh look, a squirrel," watch the furry critter scurry up a tree, and then get on with your day. That's Squirrel With a Gun in a nutshell.

The First Descendant has moments of fun, but its action is constantly debilitated by tiresome mission design and a grind entirely informed by its venomous monetization. It's designed to frustrate and steer players toward an extensive storefront that lets you circumvent some of its monotony, only to be met with even more. There are no redeeming features to its intentionally infuriating free-to-play model; it feels like a game designed in a boardroom, where every single aspect of its design is secondary to the pursuit of making more money. It's a sad state of affairs, and I wouldn't recommend The First Descendant to anyone.

Despite being a huge fan of the series Demon Slayer: Sweep the Board offered very little to keep me entertained. A few hours in, the experience became repetitive and tedious to a degree that it’s hard to recommend to even the most ardent of manga and anime enthusiasts. You’re better off grabbing The Hinokami Chronicles, made by the same studio, if you’re into Demon Slayer, and those who prefer party games or board games already have a plethora of other options.

Endless Ocean: Luminous could have been a realistic SCUBA sim with all the treacherous hazards that real underwater divers need to consider, a relaxing chill-vibes game that's mostly about finding fish with your friends, or a story-driven game centered around discovering awesome and even extinct underwater beasts. It has pieces of all of those, but it doesn't commit to any of them. Instead, it takes the enormity and glory of earth's largest and most mysterious region and turns exploring it into a dull, repetitive chore.

Star Wars: Battlefront Classic Collection is ultimately just disappointing. It's unclear whether it wants to be a remaster or a collection that preserves two major games from Star Wars' history, but in both instances, it fails. This is neither an accurate representation of what Battlefront and Battlefront 2 were, nor does it make enough adjustments to bring two decades-old games into the modern era. The result is a collection that's not really fun to play, and well worth skipping.

With its reality-bending story, parade of puzzles, and unwieldy combat, Alone in the Dark is, in some ways, more faithful to some turn-of-the-century horror games than their own revitalized modern remakes. I enjoyed the game's story, setting, and abundant lore, and I felt smart when I'd overcome some of its puzzles. But others proved so obtuse as to be frustrating, and nothing about the combat even climbs to a level I'd call serviceable--it's consistently poor. This isn't Alone in the Dark's first revival attempt, and it's probably not its last, but it isn't the one that will put the series' name in the same breath as the all-time greats it originally helped inspire.

Skull and Bones has its moments, but these brief snapshots don't encompass even half of the full experience. Everything that was great about Black Flag has been ripped out to accommodate tedious live-service elements and a half-baked multiplayer that makes you feel disconnected from other players. Some of its more egregious issues will hopefully be fixed in future updates, but it would still take an entire overhaul to salvage the game's core mechanics and overreliance on banal, repetitive activities. It's disappointing that this is the outcome after an 11-year wait, but Skull and Bones is teetering on the edge of confinement in Davy Jones's Locker.

The Short Message is desperate to be understood and devoid of novelty, leaving no room for interpretation, no sense of lingering mystery, and no strong impression for anyone who may be playing a Silent Hill game for the first time. Its unintended short message ends up feeling unfortunately obvious: Do not download.

The game is brief and polished, so I think it's possible someone who loves the games You Will Die Here Tonight is affectionately cribbing could manage to enjoy this too, but probably only if they're really itching for something else to play. There's no shortage of games resurrecting this style, and many of them have been memorable. Others have been worse, but at least some have been interesting in their shortcomings. The overarching issue with You Will Die Here Tonight is that the death alluded to in its title can be attributed to boredom.

Although its narrative setup is enjoyable, Modern Warfare 3 can't get out of its own way, with nearly half of the missions being the underwhelming Open Combat style. The bumpy pacing and abrupt ending make Makarov's big return a disappointment, dragging Modern Warfare 3 down as the weakest entry of an otherwise strong reboot series. [Campaign Review Score = 50]

Nailing down my feelings on Pokemon Scarlet and Violet this past year has been difficult. In my review of the base game, I said it was one of "the best mainline Pokemon games in years," and 350 hours later, I still stand by that. Terastallization is the best battle gimmick the series has introduced to date, the open-world design fits nicely into the series' themes of exploration and discovery, and the competitive scene has been a thrill to follow and participate in. However, Scarlet and Violet's triumphant highs are still obscured by technical issues, and the same can be said for The Teal Mask. Scarlet and Violet's core issues still persist, but there's a lot to chew on here, both for hardcore competitive players and fans who want to see more of the Pokemon world. [Provisional Score = 70]

WrestleQuest has the right tools to make for a memorable wrestling RPG experience, with its quirky characters, vibrant atmosphere, and countless references. Unfortunately, though, its over-reliance on a rote combat system, poorly paced narrative, and issues under the hood make for a frustrating experience. Far from being Mr. Perfect, it is, instead, the Genesis of McGillicutty.

Much like Gollum's quest for the One Ring, my quest to complete The Lord of the Rings: Gollum was full of endless setbacks, impossible odds, and ever-increasing levels of madness. And, like Gollum, my journey was doomed from the start. So if the developers' main goal was to really put you in the shoes of such a pitiful, unloveable character faced with constant pain and suffering at every turn, they were at least successful at that.

Ultimately, Redfall is a game that should not have been released yet. Its litany of bugs hampers the gameplay loop of exploring its world with friends, and that loop itself feels compromised by elements that are poorly executed and ill-suited to the team implementing them. I can't pretend to know whether Arkane chose to make a loot shooter or was assigned to make a loot-shooter, but I can tell you what it feels like: one of the best game studios in the world suddenly made toothless.

Though Storyteller's premise might be creative, its repetitive puzzles and lack of challenge quickly make the game feel stale.

Every so often, a hint of something special glints through in Sports Story's bloated design. A joke or two manages to hit the mark and make me smile, for instance, or a surge of triumph flows through me after a dash of inspiration forms the basis of a strategy that turns a seemingly impossible shot into something possible. But these moments are too rare to adequately alleviate the game's numerous shortcomings, all of which are exasperated by regular technical issues. Golf Story deserved a better sequel than this.

Gotham Knights acts as more of a cautionary tale than the logical next step for this storied universe. For a long time no one knew how to make a compelling Batman game, and then we got four of them in seven years. Taking what worked before while seeking to evolve it is admirable, but the obsession over loot is ill-conceived, cynical, and tasteless. It feels as though volume of content is given precedence over meaningful content, and for those that might enjoy the grind, the endgame's absence will be noticeable.

The restrictive saves and unbalanced combat combine to make much of Scorn's adventure a frustrating slog, betraying the initial promising opening hours that emphasize puzzle-solving and atmosphere above everything else. Even with the disappointing smaller puzzles, the overarching ones that are the centerpieces of each act are satisfying to slowly put together, but not captivating enough to distract from the brutally unfair challenges along the way. There's simply too much in Scorn that works to push you away from it rather than pull you deeper into it, making even its relatively brief adventure a difficult one to suggest you give your time to.

As it stands, Splatoon 3 is a wildly inventive story campaign paired with a massive amount of multiplayer modes and options, making it the most robust Splatoon game so far. I need more time to put the multiplayer modes through their paces, but the foundation appears strong. [Review in Progress; Provisional Score = 70]

I could go on and on, but Mirrorverse is stuffed with predatory tactics like this. They shred any remaining desire to further explore what is truly a bold and unique take on the Disney universe, which is a real shame. I'd hoped these Guardian versions of the Disney characters I'd grown up with would get more time to shine and show off their new abilities. Instead, I got buried in resources and currencies, which relegated these amazing heroes to posing on the menu screens, and the result is a big disappointment. I'm looking into the Mirrorverse, but I don't like the reflection.

Swansong ultimately has little to recommend it. Its writing is stilted, its storytelling muddled, and its puzzle design is mostly unimaginative. Sadly, there isn't even any kind of worthwhile payoff if you do manage to see it through to its conclusion. I reached a point where I was thinking I'd hit the close of the second act, and then the game ended. Just like this.

Postal 4: No Regerts is devoid of humor and anything close to approaching fun or engaging mechanics. The only things it has in spades are constant technical issues that only compound the game's lengthy checklist of egregious shortcomings. Running With Scissors might consider this review a badge of honor, considering that the game being bad is seemingly part of the gag, but don't for a second think that Postal 4 even touches the realm of "So bad, it's good." There's nothing redeemable about this game. It's a genuinely awful experience that should be avoided at all costs.

The more important question is whether these Definitive Editions are the ideal way to experience the trilogy, and that is a resounding "Hell no." No matter how the vaunted feature list looks, there are scant few creative decisions implemented for these ports that make themselves at all superior to the other versions released over the years. It's hard not to think about the games that this trilogy would inspire--stuff like Mafia, Saints Row, Yakuza, Sleeping Dogs--and how well each of those series have been preserved and updated. The fact that the Godfather of open-world crime sagas has been outclassed so thoroughly in that regard is infuriating enough to push fans into a rampage. Thankfully, it's raining outside.

If you had a mandate for all of the things a No More Heroes game shouldn't be, "boring" would be near the top of the list, but this sequel frequently is just that. No More Heroes 3 lacks the irreverent charm and personality of its predecessors. Combat picks up the slack, and there's a degree of vivid style to be found there, but the game falters in so many other areas. After an 11-year wait, maybe No More Heroes 3 was always destined to fall short of our expectations. But to end without so much as a touchdown is a mighty disappointment.

Stonefly takes flight in a fantastical world where you glide amongst giant trees, branches twisting improbable pirouettes in the sky. But the initial wonder soon sputters under frustrating combat design and runs aground against the mundane grind of its progression structure.

NBA 2K21 Arcade Edition tries to bring the NBA 2K experience to mobile, but it throws the ball out of bounds more than it sinks the open jumper. While the players on the court look good on the phone, the occasional errant movement or visual glitch breaks immersion fast. The repeated audio cues are annoying, the limited mode selection limits the game's longevity, and the touch controls are a detriment. There's a solid NBA game here if you use a controller, but there are so many frustrating elements around it that it's better for everyone to not enter this NBA Draft.

All in all, I'm enjoying playing Mass Effect 1 again, something I never thought I'd say (I find the original game's combat too frustrating). I'm eager to get back to it, and see how the Legendary Edition may have changed Mass Effect 2 and Mass Effect 3 as well. [Review in Progress]

While the additional content is certainly welcomed, there's so much already here that you'd be forgiven assuming the game wasn't in Early Access. The core pillars that prop up its distinct premise are sound enough that playing through Fights in Tight Spaces tickles all the right strategy parts of the brain, providing satisfying victories when you've thought out your options just right. The additional development time afforded by Early Access could help smooth out some of the rough edges, making the future of this tactical deck-builder one to look out for. [Early Access Score = 70]

Bearing in mind what's still to come, 30XX is nonetheless off to an excellent start. It's already a thoroughly enjoyable homage to the likes of Mega Man or Turrican, with tight controls and polished character design securing the foundation and a roadmap to version 1.0 promising a steady supply of new content. I wouldn't hesitate to start your run now, no matter what the Bureau of Encouragement might say to the contrary. [Early Access Provisional Score = 70]

Of course, every moment of Ghosts 'n Goblins Resurrection feels like it could be someone's breaking point. That's the series' legacy: the feeling it champions. If you have a strong nostalgia for these games and whatever feelings they inspired in you, it is a faithful homage. And Capcom deserves credit, to a point, for recreating a game that can stand shoulder to shoulder with Ghosts 'n Goblins, and Ghouls 'n Ghosts, as peers in excruciating gameplay. As entertainment, though, it is an artifact of a time long-past that I'm happy to remember, rather than return to.

The core ideas are full of promise, but there's no follow-through. What ought to be a cheeky, charming celebration of a delightfully furry woodland creature is instead too rote, too dry, a neat idea undone by a lack of imagination. The only thing left to say is, well… nuts to that.

The core ideas are full of promise, but there's no follow-through. What ought to be a cheeky, charming celebration of a delightfully furry woodland creature is instead too rote, too dry, a neat idea undone by a lack of imagination. The only thing left to say is, well… nuts to that.

And as a Chinese player, I had come in expecting more from a studio called Just Add Oil Games--a name that's a cheeky reference and a literal translation of the Chinese phrase "jia you," an expression of encouragement and support. But its cast of Road to Guangdong is little more than an ensemble of lifeless, cardboard cutouts of a Chinese family, despite the best efforts of its writer Ooi (who is coincidentally the only member of Chinese descent on her team). In the end, Road to Guangdong doesn't quite live up to its modest ambitions as an intimate driving experience, as it shapes up to be a meandering road trip that simply can't end soon enough.

With all the bugs ironed out, Next Stop Nowhere would have been a pleasant, albeit inessential, jaunt with some interesting characters and a disappointing lack of consequence. In its current state, it’s a broken, frustrating experience on top of that. As an Apple Arcade exclusive, Next Stop Nowhere isn’t asking for additional payments beyond your subscription, but right now it’s not worth the time you’ll have to invest to finish it. I like Beckett and Serra, and I’d love to be on board with their road trip through space; unfortunately, the game gets a flat tyre midway through that it never replaces.

My overall impression after 25 hours is that Marvel's Avengers is a fun but flawed game with a lot of good ideas. It still feels as though the story campaign and the live-game missions are pretty divorced from one another, and I miss the moments when it was just me using my skills to take down a tough boss, rather than just watching as Taskmaster or Abomination get absolutely mobbed by me and three other superheroes. But there's a lot of depth in the combat Marvel's Avengers offers as you unlock more and more of a character's skill tree, and especially when you get a decent team that works together, there are quite a few opportunities to feel super.

Grounded has the foundation needed to turn into a great survival game, but it has a long way to go yet. The titular term comes from aviation--when a pilot finds themselves, for whatever reason, unable to fly, they are Grounded. It's a pretty apt name for the current state of Obsidian's foray into the co-op survival genre. But like a balsa wood airplane, Grounded sits at the outstretched tension point of a strong rubber band. It is pure, unadulterated potential energy, and all we can do is sit back and wait to see if that rubber band snaps or if the game achieves take off. I think it's gonna fly. [Early Access Score = 60]

While its setting and story are initially intriguing, the experience of playing the game becomes painful over time. Enemies are plentiful and tough to avoid, and the tools that you do have at your disposal are frequently hampered by extreme item scarcity. The complete removal of UI or any helpful visual cues makes stealth encounters a chore. The moments of satisfying key-hunting are bogged down by a world that is a frustrating bore to explore. In retrospect, I wish I could stay in the "before" times, on the other side of that grand reopening banner. At least then, I was optimistic about what awaited inside.

Despite being in early access, Ooblets has a well-established identity. It's a charming-looking game with characters and items with names that are all cheeky puns, and its relaxing gameplay loops leave you feeling good because you're bettering the living conditions of both yourself and the townsfolk. It's a very positive game, and I'll no doubt lose a lot more time to it once it leaves early access. In its current form, it's got some annoying bugs, and since it's not finished, there's not much reason to stick around once you've accomplished the initial set of tasks that the mayor sets out for you. But what's there is already a pretty substantial game. The card-based dance battles are adorable, it's fun to build new decks and try out different strategies, and there's such a deep satisfaction in transforming your modest beginnings into a beautiful farm. I want there to be more, but what's already here is pretty good. [Early Access score = 70]

Despite being in early access, Ooblets has a well-established identity. It's a charming-looking game with characters and items with names that are all cheeky puns, and its relaxing gameplay loops leave you feeling good because you're bettering the living conditions of both yourself and the townsfolk. It's a very positive game, and I'll no doubt lose a lot more time to it once it leaves early access. In its current form, it's got some annoying bugs, and since it's not finished, there's not much reason to stick around once you've accomplished the initial set of tasks that the mayor sets out for you. But what's there is already a pretty substantial game. The card-based dance battles are adorable, it's fun to build new decks and try out different strategies, and there's such a deep satisfaction in transforming your modest beginnings into a beautiful farm. I want there to be more, but what's already here is pretty good. [Early Access score = 70]

Remasters, ports, and remakes are nice because they make games more accessible to new audiences, and the ones that excel understand that some features from the game’s era are antiquated and should be updated or removed. SpongeBob SquarePants: Battle for Bikini Bottom - Rehydrated flops like a fish out of water when it comes to this. It’s a game so focused on emulating and embellishing the original that it doesn’t know the parts of itself that are fun and the parts that aren’t. It lost sight of the basic elements that make a collectible platformer enjoyable. This game doesn’t promote curious or keen gameplay, the movement isn’t smooth, and gathering collectibles never feels rewarding. Ultimately, the game winds up being an unpleasant nostalgia trip that nobody should pack their bags for.

Really, the comic book presentation of Liberated makes the gameplay portions feel like an afterthought, shoehorning some weak gunplay into a tale that's really more about political intrigue and moral quandaries of balancing safety against the preservation of personal freedoms. The best parts of Liberated are the character beats in the comic panels, and the worst are the moments when you have to shoot a bunch of dopey, stilted bad guys in order to get back to more comics. It's nice to look at, but Liberated's uninspired levels and often-frustrating design make it feel more like a cage.

Even though Those Who Remain may awash you in good old-fashioned terror and ingenuity for a few brief periods, these are mostly lost in a sea of frustration and generic horror metaphors.

Even if the technical hiccups get fixed in a patch, though, the Wonderful 101 doesn’t stand the test of time. Remastered or not, I constantly felt like there were missing steps or if I was figuring things out too slowly to keep up with the hyperactive story and its multifaceted gameplay. What’s more, the transition to the Switch, even with its touchscreen capabilities has only exacerbated the game’s core problems. There’s a great concept and the good combat mechanics we know Platinum can achieve in there, but you’ll need a lot of patience to find them.

It's difficult to come to terms with Predator: Hunting Grounds being nothing more than a single game mode with shallow gameplay and abundant technical issues. It works when you're navigating the tree line as the Predator and hunting down a team of players, but these moments are fleeting. For the most part, you're going to be running through the same types of missions as one of four human players, with unskilled Predator players not providing the ample tension required to make the undertaking worthwhile. And even if you do find yourself playing enough to be matched against some of Hunting Grounds' best players, there's not enough depth to sustain it for much longer.

Wolcen: Lords of Mayhem is frustrating to play for the majority of its campaign, leaving you with little motivation to dedicate more time to endgame events. There are many technical issues that can be fixed to alleviate some of this frustration, but it's the deeper ingrained problems with difficulty balance and character build viability that keep Wolcen from fulfilling its enticing promise of a free-form ARPG. It has all the elements in place to become another engrossing time sink, but it doesn't execute well enough on any of them to make it worthwhile.

There is no shortcut to boss doors, nor an opportunity to save outside them--you must traverse the preceding dungeon in its entirety again, which begins to disrupt and destroy the decent dungeon-crawling. As a result, despite the fact Snack World is initially most exciting when you're exploring the depths of its dungeons, that excitement is soon painfully wrenched into tedium. This phenomenon seems to permeate Snack World in its entirety: although it's exciting and captivating early on, each of its constituents become tedious before long, and all of its strengths are weathered away by repetition and a sense of feeling incomplete.

Even as a longtime fan of the series who adored Kingdom Hearts 3, it's hard to muster up any sort of enthusiasm for Re:Mind. What's more, Re:Mind made me understand Kingdom Hearts 3's story even less, which is a testament to how bonkers it really is. It's not all that surprising this happened; after all, it's Kingdom Hearts. Nevertheless, Re:Mind is an incredibly peculiar expansion that simultaneously falls flat and partially obscures the brilliance of Kingdom Hearts 3.

It’ll be rare for you to want to save any of the creations Supermash lets you construct, which is indicative of how shallow and unsatisfying they all are at their core. In a bid to try and do so many things right, Supermash forgets the fundamentals of all the genres it tries to encompass, while also overreaching by trying to make them all work in some way together. None of Supermash’s creations feel close to replicating the joy of their inspirations, and instead serve as reminders that there are far more focused and polished attempts at each individual one that will reward your time better. There’s no doubting the imaginative idea at Supermash’s core, but it ends up choking on its ambition.

WWE 2K's annual release schedule has felt superfluous for a number of years now. This has never been more apparent than with WWE 2K20, a game that's not only riddled with frequent technical issues, but one that's notably worse than its predecessor in almost every area--whether it's the dull and unenjoyable combat, the fact half the roster look like terrifying goblin facsimiles of themselves, or MyCareer's obnoxious and tedious story. This is the moment the WWE 2K series hit Rock Bottom.

Breakpoint is a messy, confused game and a ghost of the series' former self.

It would make sense if the addition of loot were in service of guiding people to spend real money on better guns, but even then the stats are so meaningless it would take a lot of convincing. There's some surprising fun to be had stealthily infiltrating enemy compounds and playing with friends, but Breakpoint is still a generic and distinctly sub-par game. It's essentially every Ubisoft open-world game rolled into one, failing to excel in any one area or establish its own identity. Breakpoint is a messy, confused game and a ghost of the series' former self.

It would make sense if the addition of loot were in service of guiding people to spend real money on better guns, but even then the stats are so meaningless it would take a lot of convincing. There's some surprising fun to be had stealthily infiltrating enemy compounds and playing with friends, but Breakpoint is still a generic and distinctly sub-par game. It's essentially every Ubisoft open-world game rolled into one, failing to excel in any one area or establish its own identity. Breakpoint is a messy, confused game and a ghost of the series' former self.

As it stands, investing in Ancestors' journey demands too much effort for too little reward.

Metal Wolf Chaos is an old game with a wild reputation, and though it lives up to it in some ways, it's not good in general. At best, it's a curio that helps inform the story of From Software's trajectory over the years. At worst, it's a frustratingly shallow experience that fails to capitalize on it's best qualities.

Metal Wolf Chaos is an old game with a wild reputation, and though it lives up to it in some ways, it's not good in general. At best, it's a curio that helps inform the story of From Software's trajectory over the years. At worst, it's a frustratingly shallow experience that fails to capitalize on it's best qualities.

There's no reason to jump into Cyberpilot if you're looking for another avenue to explore more of Wolfenstein's world. This straightforward shooter lacks the punch to make its action exhilarating and breaks up combat with even more repetitive and slower-paced interludes where you'll do the bare minimum with motion controls to achieve simple and mundane repair tasks. Beyond looking striking for a VR game in some places, there's nothing about Cyberpilot that warrants your time.

It's hard to resent a game as unapologetically dweeby as The Sinking City. It's an old-fashioned, bookish mystery rooted in the mythology and mysteries of a pulpy, cult-favorite mid-century American novelist--an effort not without charm, to be sure. But no matter how fond your affection for H.P. Lovecraft and the idea of a wide-eyed, slow-burn literary adventure, the poor design, cliched writing, and lumbering pace make this far more tedious than delightful, let alone unsettling or terrifying.

Despite its glimmers of inventiveness and artistry, Giga Wrecker Alt is its own worst enemy. The puzzles are too frustrating and the platforming too fiddly to recommend it. Game Freak set out to make something very different than the series it's most known for, and the studio's trademark creativity shines through in brief moments. The execution on the whole, though, is sadly lacking.

There’s almost no joy to be found in playing Left Alive, only bitter disappointment.

Losing progress in a roguelike is meant to entice you to hop back in with new accessories to change your next run, but Genesis Alpha One doesn't have the mechanics in place to make these variations interesting enough to experiment with.

Darksiders 3 retrogrades on its predecessors with an unfocused approach that constantly clashes with itself. There are remnants of a good game here, buried within the vivacious combos of a combat style this game doesn't want to embrace. Unfortunately, it's buried far too deep to ever salvage.

Framed as a spiritual successor to Ultima Underworld, Underworld Ascendant misses the mark with almost every shot, much like my aforementioned hapless archer. At the same time, even freed from the expectations its historical baggage brings, it is a clear failure. The spirit of Ultima Underworld lives on elsewhere.

Fallout 76 can look and feel like its illustrious predecessors at times, but it's a soulless husk of an experience.

At launch, Fallout 76 is a poor experience. There are echoes of the series' admirable qualities, but look past that facade, past the cute Vault Boy animations, past the familiar radio tracks, and you'll find no heart--just an inconsequential wasteland doomed to be nuked over and over again.

At launch, Fallout 76 is a poor experience. There are echoes of the series' admirable qualities, but look past that facade, past the cute Vault Boy animations, past the familiar radio tracks, and you'll find no heart--just an inconsequential wasteland doomed to be nuked over and over again.

From its restrictive mission structures, unbalanced difficulty and frustrating means of progression, The Walking Dead struggles to justify the time it requires from you. It's a collection gameplay blueprints stacked upon one another without thoughtful consideration on how they might cohesively work together, wrapped up in a dull presentation and mundane combat that very rarely excites. The Walking Dead is a mess of scattered ideas and a lack of direction, and there's no reason to make sense of it all.

Inexplicable design.

While the game re-creates what we played in the 1990s, misty water-colored memories of hours spent with Eye of the Beholder are not enough to fix numerous design miscues, performance problems, and bugs. This is a tough sell to all but the most dedicated and patient retro fan.

There are just too many hurdles to overcome to enjoy We Happy Few, and not enough Joy in the world to cast them aside.

Earthfall follows a proven concept, but its delivery feels outdated, derivative, and woefully underdeveloped.

I entered Agony’s Gates of Hell with a slack-jawed gasp. It is such a disappointment to have to have left it with a shrug.

Ultimately, Conan Exiles is one of the most unsatisfying games I’ve ever played. Its crafting and resource systems may be dense enough that the ultra-patient could find something to enjoy here, but anyone else would likely walk away with their hands thrown up in defeat. The mind-numbing tedium of harvesting resources, woefully boring combat, and a slew of bugs left me feeling completely underwhelmed and unimpressed when it was all said and done.

Ultimately, Conan Exiles is one of the most unsatisfying games I’ve ever played. Its crafting and resource systems may be dense enough that the ultra-patient could find something to enjoy here, but anyone else would likely walk away with their hands thrown up in defeat. The mind-numbing tedium of harvesting resources, woefully boring combat, and a slew of bugs left me feeling completely underwhelmed and unimpressed when it was all said and done.

Play one hour of it and you've basically done a bit of everything it has to offer; then it's rinse and repeat for as long as you can bear to stick with it. It's a frail and monotonous game destined for the bargain bin.

Extinction shoots itself in the foot time and time again. It's so frustrating to see its good ideas buried under repetitive missions, a forgettable story, and embarrassing production values for its AAA price.

Extinction shoots itself in the foot time and time again. It's so frustrating to see its good ideas buried under repetitive missions, a forgettable story, and embarrassing production values for its AAA price.

Bravo Team slogs on, stranding you in huge spaces, throwing wave after wave of cannon fodder your way, making its short play time feel hours longer that it actually is. Bravo Team is a game that feels unsure and tentative about ideas that have been tried and tested for years now, even in VR.

Obviously, a game-breaking bug is a serious problem, but I was tired of Bridge Constructor Portal long before my progress was abruptly halted. This game falls short in just about every area; an amusing story or eye-catching visual design could have at least distracted from the dull puzzles, but you get no reprieve here.

Its lack of survival depth and inclination to only reward time served instead of clever play saps whatever life it might have had to give.

Aegis Defenders is disappointing because it had potential, and I still think that potential exists. There is satisfaction to be found in setting up its towers and combining them in interesting ways to make bigger and better turrets. And its loop of exploring, defending, and upgrading is alluring. But the game never meets your expectations. Whether it's the nonsensical narrative, the frustrating combat, the numerous bugs, or the simplistic platforming, Aegis Defenders stumbles more often than it excels.

Hello Neighbor is a game you persevere in due to sheer luck rather than any sort of actual skill, foresight, or cleverness. There's no catharsis, insight, or revelations waiting at the end of the ordeal, just a sort of uneasy malaise over what the images and environments near the end are meant to represent. As such, a simple, appealing concept is rendered inert.

Elex's world is no doubt enticing, but the good moments are heavily dispersed among some rough technical problems and odd designs that only serve to frustrate. The game offers an incredibly designed world and the basis of a compelling RPG that disappointingly fails to live up to its potential in almost every way. For a game that relies heavily on its combat for progression, it feels overwhelmingly geared against you, and with the added technical issues and lack of a compelling story to tell, Elex takes the wind out of its own sails at nearly every turn.

Personality can only take a broken and repetitive game so far. The attitude behind Agents of Mayhem has potential, at least if it's executed properly. But there's little to Agents of Mayhem beyond its foul-mouthed and bombastic attitude, which push the game into grating and obnoxious territory. Throw in the poor mission design and bugs, and you've got a game with loads of mayhem, but not much else.