It’s thoroughly unexciting and visually uninspired, but that’s more the fault of TiQal’s place in history. If it had been one of the first puzzle games on the service, it might stand out a bit more. But now, despite its passable gameplay, it’s hard to not just say “wow, they made another one of these?” and move on.

While it doesn't carry the weight of a Pac-Man or a Donkey Kong, the core gameplay works well enough that it's easy to see how it could be remade in a flashy new way that appeals to the digital download crowd. But QIX++ is a short, dull take on the Qix formula that won't rope in new players or satisfy aficionados.

NBA Ballers: Chosen One feels like a relic, like an old arcade game that’s been given a fresh coat of paint, but no additional gameplay depth. Like an old arcade game, it’s fun for awhile, but unless you have nostalgic feelings for, well, the other two Ballers games, you’ll probably get fed up fast.

ReCore offers a lighthearted, fun first few hours, but all that promise is quickly buried in a torrent of bugs and oversights, poor storytelling, and disjointed pacing that all make the game a pale shadow of what it could have been.

The combat, platforming, crafting and customization, even the parts of the story that work were clearly built with care and seem like they'll amount to a really engaging game with a lovable cast of characters and an intriguing world, but the game's rampant problems are just impossible to look past. This game deserved to be so much more.

Imitation is an open invitation for comparison, and while it's mostly competent from a technical perspective, it's all very rote.

Assassin's Creed: Unity is at once an object of exquisite beauty and exhausting boredom.

With faster and more responsive controls, a better multiplayer framework, and a smoother character progression system, this one could have been surprisingly competitive in its category. But with so many problems holding it back, Lost Planet 2 is hard to recommend against all the other great shooters already out there.

Soul Calibur gets the fighting right, but without online play or the single-player mission mode that made it fun to play alone, this XBLA re-release is a flimsy package.

THQ wants you to pay $7.00 for eight missions and a handful of mostly meaningless unlockables. That's just crazy.

A boring dual-joystick shooter that lacks the speed and intensity that the best games in the genre all share. Throw in a generic zombie theme and you're left with something that feels like it'd be a neat free Left 4 Dead mod. As a standalone commercial product, though, it's lacking at every turn.

Crackdown 3 shows very little in the way of learning from the past or learning from the other open-world games that have graced consoles over the last nine years. Instead it feels slight, mindless, and dull. It feels like a gussied-up first-generation Xbox One game. Like the sort of game you might have expected to hear about back in 2014. In the here and now, though, there's... way less room for this sort of game on store shelves.

There are a few glimmers of what could have been in here, but this is not the game that legitimizes Kinect as a game-playing device, nor does it do a single thing to restore any vibrancy or value to the Star Wars license. Fans of Star Wars, Kinect hopefuls, and little kids all deserve better.

I don't think I'd call Crackdown 3 an awful game, but I would call it dated.

Yes, 2K has imbued 2K15 with impressive graphical prowess, but those hot visuals don't mean a whole hell of a lot when the rest of the game feels so undercooked.

The entire game feels lifeless and old. The presentation fails to capture the excitement of the real thing. The gameplay doesn't match the product it's attempting to emulate. And the layers upon layers of plain-looking menus feel like they were ripped out of a PlayStation 2 launch game.

Even if you are a hardcore Aerosmith fan, this game's short and spotty track list makes it hard to recommend.

The campaign has aged pretty poorly and the graphical updates to the campaign side of Gears of War feel half-baked, so unless you're really excited for the competitive part of Gears of War, there's nothing for you here.

Everything in the Underdome is a total hassle, and that gets old fast. That you don't gain any experience points or build up more weapon proficiency while in the arenas only makes a bad situation worse, and it makes the entire experience feel pretty pointless.

You're left with the impression that the single-player was an afterthought and that multiplayer was the focus. But even the multiplayer is saddled with enough flaws to make this game missable.

But it doesn't matter how slick a game like this looks if the action isn't on point. Housemarque has proven in the past it clearly has the chops to make great shooters, but it doesn't feel like that skill was fully brought to bear on this one.

Though it has two campaigns and a healthy array of maps for skirmish and multiplayer, Command & Conquer 4 feels like it's missing about half-a-game's worth of content. There are some neat ideas in play, but the action itself isn't strong enough to make it all work, and the cutscenes aren't good enough to make you forget that the game isn't all that hot.

Humor is entirely subjective, and maybe some of the stuff I found to be a little easy and dull will get you going. However, I'm a lot more certain about the quality of Matt Hazard's gameplay, which almost feels like it's going out of its way to be mediocre at best. Hey, maybe that's part of the joke!

It's another bad top-down multiplayer shooter on a system that already has more than enough of the same.

It may share a genre and universe with Saints Row, but Agents of Mayhem is a lifeless husk of Volition's prior work.

If you're just comparing it to other action games released on the Wii, The Conduit does some interesting things with its control and with its multiplayer modes. But other aspects, like the poor story, bland design, and awful voice acting, would be just as bad on any platform. It's that stuff that drags The Conduit down into an area where it's tough to recommend without providing a boatload of caveats.

A boring dual-joystick shooter that lacks the speed and intensity that the best games in the genre all share. Throw in a generic zombie theme and you're left with something that feels like it'd be a neat free Left 4 Dead mod. As a standalone commercial product, though, it's lacking at every turn.

While the game itself is technically proficient, nothing about the gameplay pushes it above and beyond that base level of proficiency. Its biggest problem comes from a clever premise with poor implementation. There's some replay value here in the multiplayer and the collection of data cells, which unlock the weapons from the campaign in a weapons testing area, but even those can get old very quickly. Once you get past the limited use of the terrain deformation you'll find yourself searching for anything new or exciting in Fracture's take on the sci-fi third-person shooter.

WWE 2K16 improves on the many things wrong with last year's game, but not nearly enough.

This is most definitely a lazy, slapped together, overly expensive waste of time that nobody need bother play. And yet, for some bizarre reason, all I could think about while playing The Expendables 2 was that it didn't have to be this way.

The game itself isn’t much fun, regardless of the number of players. With its plodding, monotonous pace and scattered presentation, Rocketmen doesn’t do enough to separate itself from the seemingly infinite number of other dual joystick shooters available via Xbox Live Arcade or the PlayStation Network.

The entire game feels lifeless and old. The presentation fails to capture the excitement of the real thing. The gameplay doesn't match the product it's attempting to emulate. And the layers upon layers of plain-looking menus feel like they were ripped out of a PlayStation 2 launch game.

Save for some occasionally witty banter, this generally generic brawler is too concerned with the window-dressing of time-travel to capitalize on Spider-Man's character, abilities, or mythology.

Nothing about the gameplay feels broken, it just feels soulless this time around.

For every brilliant moment, there's a handful only worthy of exasperated annoyance.

The game's combat feels limp, the quest design is immediately monotonous, and the whole package manages to make being a superhero or villain feel like the most mundane thing in the world. Considering the game's "everyone's a hero/villain" plot, I suppose that makes perfect sense.

The game itself isn’t much fun, regardless of the number of players. With its plodding, monotonous pace and scattered presentation, Rocketmen doesn’t do enough to separate itself from the seemingly infinite number of other dual joystick shooters available via Xbox Live Arcade or the PlayStation Network.

Instead of making excuses for Lost: Via Domus, I would just recommend that everyone but the most die-hard of Lost fans take a pass on this one.

The structure of the game is decent, but it's brought down by issues both large and small. The largest one is a simple lack of content. With eight maps, a lackluster arsenal, and a campaign mode that is, by default, populated with terrible AI-controlled bots, Brink just doesn't have enough going for it to justify a full-price purchase.

A dreadful combat system brings down an otherwise beautiful and funny Mario adventure.

It's as if it was plucked from the earliest days of downloadable gaming, back when digital games often relied more on single-minded gimmicks than the fully fleshed-out concepts of late, and $10 seemed like such a great deal for any game you could play with buttons on a console. That era has long since passed us by, and we're better for it.

Moments of true thievery are frequently left to side missions, which leaves roughly 10 hours of story in which you navigate bland mazes of narrow corridors, dull traps, and dimwitted A.I. foes, all for an end result that does nothing but underscore what a colossal waste of time the whole endeavor ultimately was.

Humor is entirely subjective, and maybe some of the stuff I found to be a little easy and dull will get you going. However, I'm a lot more certain about the quality of Matt Hazard's gameplay, which almost feels like it's going out of its way to be mediocre at best. Hey, maybe that's part of the joke!

I'll admit that my fondness for Need for Speed Most Wanted colored my expectations for Need for Speed Undercover, but this game's general failure as a racing game ends up being so significant that its inability to recapture the fun of Most Wanted in particular is kind of a moot point. There's no shortage of street racing games on the market right now, and there's simply no room for a game that can't nail down some of the basics.

The Just Dance series feels like it's headed in the right direction with Just Dance 3, but it still has a long way to go. If you were satisfied with the Just Dance experience on the Wii, and you find the soundtrack to Just Dance 3 appealing, you probably won't be disappointed. But you should know that you can do better.

It is a dull game that fails to offer more than passing enjoyment, hitching and glitching all along the way. It offers a middling co-operative mode in a field filled with games trying to innovate in that space. It struggles to say anything--even something bombastic and cartoonish--about crisis, nationality, or revolution. It tries to roar America, but instead coughs out a few, unintelligible grunts.

Between the dreary action, the sluggish movement speed, and the seemingly tacked-on multiplayer, you’ll probably want to pass on the whole thing.

As with the original Skate, Skate It manages to feel authentic and it comes with some sharp ideas. But the game's presentation and control just don't pan out, and it seems like a game that'll frustrate players more often than not. If you're a Skate fan looking for what's next, do yourself a solid and wait for Skate 2.

It is a dull game that fails to offer more than passing enjoyment, hitching and glitching all along the way. It offers a middling co-operative mode in a field filled with games trying to innovate in that space. It struggles to say anything--even something bombastic and cartoonish--about crisis, nationality, or revolution. It tries to roar America, but instead coughs out a few, unintelligible grunts.

Homefront may look pretty, but it's a monotonous and confused slog.

Castlevania: Harmony of Despair has some neat ideas, but a lot of it's hidden behind a bevy of poorly explained menus and user-unfriendly mechanics. The expectation that you'll grind your way through the six chapters over and over again, only to do it all over again in hard mode is kind of ridiculous, and there just isn't enough of a reward there to make all of that grinding feel like anything other than, well, a grind.

An improvement. It's a better looking game than NBA Live 14, and a better playing one, but "better," in this case, does not directly translate to "good." Live 15 is still too shallow to hang with 2K's game, but it represents a glimmer of hope that this series could eventually provide some legitimate competition to 2K Sports somewhere down the road.

Killing the combat system that made this franchise so enticing, and robbing it of any modicum of challenge was so far beyond what was necessary that it leaves Ninja Gaiden 3 feeling like little more than a stripped-down husk of its former glory. If the previous Ninja Gaiden games were like carefully built, brutally fast hot rods, Ninja Gaiden 3 feels like it should be up on bricks on somebody's lawn.

Re-Shelled is stuck in this weird in-between place where it does no nostalgic service to the original game but also fails to bring anything new whatsoever to this simplistic genre.

All of this would have been welcome in the early 2000s, but the years of disappointing follow-ups and the overall progression of industry standards leads to Star Fox Zero having the impact of an HD rerelease rather than a full sequel. Being able to beat the game in 2-3 hours doesn't help, no matter how many branching paths or lackluster challenge missions are included. Even the moment-to-moment action doesn't have anywhere near the impact that it had almost two decades ago, as this limited style of gameplay feels dated in 2016.

The fundamental flaw with Insect Armageddon is that is simply doesn't capture the sheer scale and explosive chaos that made its Japanese predecessor so memorable. Couple that with a shooter backbone that's too simple and too repetitive to rope in fans of the genre and you're left with Insect Armageddon, a game that will fail to entice either fans of the genre or the series.

The fundamental flaw with Insect Armageddon is that is simply doesn't capture the sheer scale and explosive chaos that made its Japanese predecessor so memorable. Couple that with a shooter backbone that's too simple and too repetitive to rope in fans of the genre and you're left with Insect Armageddon, a game that will fail to entice either fans of the genre or the series.

A twitchy, mindless experience filled with weak firearms, poor enemy behavior, bland environments, and multiplayer combat that you wouldn't find acceptable in a $15 downloadable shooter.

In the end, it's the price that serves as Brain Age Express: Math's biggest enemy. At 800 points, this slice of Brain Age is nearly half of the retail price of Brain Age or Brain Age 2, both of which would be a more valuable purchase than this downloadable edition.

A twitchy, mindless experience filled with weak firearms, poor enemy behavior, bland environments, and multiplayer combat that you wouldn't find acceptable in a $15 downloadable shooter.

There are glitches and other unfortunate quirks to talk about, but those problems barely register over the din of utter mediocrity that pervades so much of Star Trek: The Video Game's campaign. Outside of a horrid, poorly-explained turret sequence in which you (barely) pilot the Enterprise in battle, there is scarcely an acknowledgment anywhere in this game that Star Trek fans might want to do something other than just run around and shoot aliens. Such a concept ultimately belies the very point of Star Trek in practically all of its many incarnations.

There’s a real lack of enemy variety, as well.

Fancy whiz-bang 3D effects wouldn't do much to rescue the clunky, mundane action here anyway.

Warriors of Rock offers a minor facelift but ignores the sagging infrastructure, and it's not a direction that holds much of a future for Guitar Hero.

The focus on occasionally tough boss fight patterns and cutscenes goes a long way in making Ninja Blade feel old.

Unfortunately, Mr. Driller Online is plagued by a meager selection of gameplay modes and bug-ridden online play that keep it from being worth the $10 price tag.

Given how loveably other classic arcade fighters have been treated recently, the problems and omissions make Arcade Kollection nothing but depressing. These games deserve better.

Resident Evil 6 is a big-budget disaster on the order of the Star Wars prequels, a sprawling production that clearly required so many individual talents to bring it into being, you can't help but wonder how the end result could have turned out so bad.

Given how loveably other classic arcade fighters have been treated recently, the problems and omissions make Arcade Kollection nothing but depressing. These games deserve better.

Catherine's limited character interaction, shallow characters, and monotonous puzzles combine to form a unique experience that feels frustratingly limited in every respect.

Catherine's limited character interaction, shallow characters, and monotonous puzzles combine to form a unique experience that feels frustratingly limited in every respect.

Though it was announced just over two years ago, the end result plays like something that was slapped together and shipped after a year or so, rather than something that was painstakingly developed and refined.

A game with no originality and not much excitement, either.

Top to bottom, this game feels rushed, a supposition backed up by Silicon Knights' history of protracted development cycles, from which X-Men: Destiny did not benefit. While politics of why that's the case, as well as speculation on the impact more time and money would've had on the game, are ultimately irrelevant to the game's failures as they are, it's not that hard to see how it could've been something great.

There are a lot of sound ideas in the middle of Quantum Break and, hey, if you're a sucker for goofy time travel hijinks this game has that going for it, too. But those ideas are the only things holding this project together. The moment you look past that heady connective tissue, every single one of Quantum Break's individual elements fall flat.

That's pretty much the whole of Game of Thrones. Sad dialogue, combat, sad dialogue, combat, sad dialogue, more sad dialogue, something outright horrifying happening, sad combat, and so on repeated in varying orders for a bit more than 20 hours.

The quality feel of the driving and nice-looking environment are buried under heaps of technical issues and bland objectives.

The idea of an anthology-like tribute to Bond films of the past isn't a bad one, but 007 Legends wastes whatever potential for fun there might have been. Instead, all Bond fans are left with is a heavily rewritten, Cliff's Notes version of some great (and not-so-great) films with a bunch of forgettable shooting and stealth sequences shoved into the mix. Ultimately, nothing 007 Legends offers is worth the effort of trudging through it.

Here in our dimension, though, Target: Terror came out to today’s arcades: empty, lifeless places full of the damned and people who just don’t know any better.

There’s a real lack of enemy variety, as well.

If I'd come out of Dead Island with a burning desire for more Dead Island, Riptide would go down a lot easier, but since that original game started out strong and just got weaker as it wore on, playing through another 15 hours of almost exactly the same thing, when the first one already felt like more than enough, instead just becomes a tiresome exercise.

If you're not willing to play a sloppy, cobbled together first-person shooter just because it has some kind of weird historical meaning, though, just forget this ever happened and move on. It's great, in some ways, that Duke Nukem Forever was released at all. But don't be confused into thinking that it's a great game.

If you're not willing to play a sloppy, cobbled together first-person shooter just because it has some kind of weird historical meaning, though, just forget this ever happened and move on. It's great, in some ways, that Duke Nukem Forever was released at all. But don't be confused into thinking that it's a great game.

If you're not willing to play a sloppy, cobbled together first-person shooter just because it has some kind of weird historical meaning, though, just forget this ever happened and move on. It's great, in some ways, that Duke Nukem Forever was released at all. But don't be confused into thinking that it's a great game.

Between the dreary action, the sluggish movement speed, and the seemingly tacked-on multiplayer, you’ll probably want to pass on the whole thing.

Anthem needs more than just new content. A lot of work needs to be done on a wide variety of the game's fundamental elements before it can join the ranks of other redeemed loot games like Diablo III, Destiny, and The Division. Whether EA will give BioWare the latitude to overhaul the parts of the game that need it--and whether it's even technically feasible for them to do that in the first place--are questions with uncertain answers.

Twice on PS4, the game crashed so hard that it literally powered down my console, forcing me to repair all my storage devices before I could boot it back up. A game making you worry about damaging your hardware is just inexcusable. I don't remember seeing this many big and small technical issues in a major release since, well, Mass Effect: Andromeda. How that reflects on BioWare's recent track record doesn't really need to be said.

I Am Alive is extra disappointing because it has so much potential right up front, and then wastes no time squandering all of it. Its premise is exciting but its promise goes wholly unfulfilled, and at some point you've got to stop lauding a game's good ideas and think about how much you actually enjoyed playing it.

I enjoy playing around with all the different creation and storyline-focused options in these titles, but when I actually find myself presented with the concept of wrestling, my enjoyment disappears in a cloud of disappointment. There was a time when this gameplay design worked, and that time was years ago.

The end result feels like a game that was created in a boardroom, its DNA formed by focus testing and market research. Time will tell what EA does in an attempt to remedy its grave errors with Battlefront II, but the game as it stands today is little more than a disappointing mess. Its technical prowess, beloved characters, and shiny spacecraft serve as little more than a distracting facade that covers an embarrassing attempt at a marquee Star Wars game.

You have to wonder how something like this makes its way onto shelves as a full-priced product. Though there's some sort of ironic fun to be had by cruising through the short campaign and listening to Mickey Rourke shout obscenities, it's practically impossible to wring $60 of excitement out of this disc.

I enjoyed it in spurts, but there's just too much wrong here to hold your attention for long. As amusing as it can be, it's really just a janky wrestling game with avatars stapled on for maximum stupidity.

It just isn't much fun to play. The core act of driving a car feels off in a way that completely put me off of playing the game. Without that in place, the rest of it just falls apart. The PlayStation 4 has been without a serious racing option since launch, and Driveclub doesn't fill that gap.

Metal Gear Survive is both a bad survival game and a bad Metal Gear game.

After Phantom Pain was released and the split between publisher Konami and series creator Hideo Kojima became public, some folks lamented that we'd never see another game on Konami's Fox Engine ever again. Be careful what you wish for, I guess.

It's a clever idea, but the mechanics of this high-damage fighting game don't lead to a lot of interesting depth, making it all fall flat.

It has all the trappings of a game that should probably be free-to-play, but Konami is asking $40 for it up front. That's a bad deal.

It's also an utter mess in a technical sense. There are a few enjoyable moments here and there, and over time you can see the skeletal framework of a better game start to emerge, but given the heights Mass Effect has reached in the past, it's hard to believe this is what we've been waiting five years for.