While Brink sits in history as a game that tripped on its path to fame, Dirty Bomb will be fortunate to be remembered at all.

Finding hidden items is technically an optional side-quest, but paradoxically, it's also the game's only real challenge.

Arkham Knight is constantly trying to justify the Batmobile's presence, forcing it upon you at nearly every opportunity.

A fantastic casual-competitive game that offers untold hours of enjoyment.

It’s a game with enough ambition and execution to spark the imagination, and enough organic entropy to let you suspend your disbelief about the families you help sire. But Massive Chalice extends you the invitation and then offers you a half-empty world in return.

Its ideas reveal the game Kholat wanted to be, but its aspirations soar far higher than the game it became. What good is a mystery if you don't care about what it might tell you?

Shadowrun Chronicles isn't just a bad Shadowrun game. It's a bad game. That it comes from a series with such an exceptional pedigree and plenty of exceptional recent successes just makes the disappointment that much more bitter.

It’s the same as it always was, and that isn’t exactly a point in its favor.

Most disappointing, though, is that Sym manages to successfully convey nothing enlightening, moving, informative, or even coherent about social anxiety. Hiding may be a central mechanic in Sym, but obscuring your meaning to this baffling degree is never the answer.

The story here acts as little more than the cellophane frames old-schoolers had to paste over their TVs to create a new background for the tiny lights that darted across the screen. Both do their jobs sufficiently, but we no longer have to simply dream of more.

Like visiting your hometown after years of absence. Everything's the same, yet off somehow. As you visit all the same places and exchange words with old friends, you're faced with an uncomfortable duality. On one hand, you get the closure of knowing how it all turned out, but on the other, you wonder what could have been, making you simultaneously satisfied and unsettled by the reality that this is the end.

Interloper distills the core elements of every good RTS and adds a little extra to put it over the top. No matter if you love or loathe traditional real-time strategy, the deep tactics and puzzle solving crammed into a nicely condensed package here come highly recommended.

It's a wonderful game with charm and inventive ideas that work and pave the way for new experiences in an otherwise stale category of games.

Xbox One owners should have no reason to bemoan the way the game looks: it’s beautiful on all of its platforms.

The Witcher 3 on PC looks absolutely wonderful, particularly if you have a reasonably powerful machine and can see the game in motion at its highest settings.

Hatred is too repetitive to be exciting, too dumb to be frightening, too basic for you to feel accomplished at its end, too dour to be violently cathartic, too self-serious to engender ironic amusement, and yet still too childish to matter...essentially, it's a nothing of a game.

If you’re a social type, this is a must-play. But loners might want to give this one a pass, at least until the developers scale the difficulty better for single mages.

Extreme repetition, poor controls, and a barely there story makes this game a dull proposition from start to finish.

Though the story is peppered with periods of inactivity that are detrimental to the pace, Sunset acts as a thoughtful, pensive walk through social themes and struggles not often explored in this medium.

As Telltale's Game of Thrones passes its halfway mark, it takes a bit of a dip, staging a set of scenes that feel less like something you can control and more like something you can only passively watch. There's no real sense of agency in the choices you are offered, other than spinning a conversation in a certain direction before coming full circle to a pre-determined outcome.

It’s a watered-down stepping stone, intended to introduce players to Puzzle & Dragons with a familiar face and none of those intimidating in-app purchases. It’s clear, however, that P&D’s design was built on a free-to-play base, and taking those elements out actually makes the game feel less substantial as a result.

If the goal was to create a game that's both alive and dead at the same time--mission accomplished.

I consistently enjoyed Technobabylon. The puzzles are always meaningful, and the story proves that you can teach the aging dog of cyberpunk some new tricks.

It's cute, colorful, and the perfect puzzle game to keep on your 3DS for dull commutes.

Beyond the mood-breaking fetch quests and blank stares, however, Life is Strange has finally come into its own in Episode Three, shedding some dialogue and pacing problems from previous episodes.

If you’ve got a few hours to kill, its campaign provides great strategic opportunities. And if you’ve got a friend nearby, you could be skirmishing for a long time to come.

Whether it's Kessler's empathy or the supplementary notes you find, The Old Blood seems to have something to say about the evolution of games, but never arrives at a solid point. The sledgehammer that is B.J.'s philosophy always wins out, stranding the gray areas in a game that clearly won't give them the time of day.

The Old Blood certainly displays intelligent action FPS design that's fun and effortless to play. Just don't expect the deep examination the game hints at to go anywhere. Here, the gloriously dumb (yet smartly designed) reigns. Progress can wait. Long live The Old Blood.