RENNSPORT has no business being a full-price game on consoles for what's offered. The post-launch DLC will cost extra as well. Excellent driving physics with the ability to race on well-known circuits with nineteen touring or grand touring cars from recent years is the core of this game. Online racing with a community also helps as it pools together three platforms to assure lobbies have players. Unfortunately noone is using the matchmaking and the offline options are barely an option. No tutorials, no content and no substance really take away from the fact that this is a video game and more of the game you go to a racing arcade to play its simulation (which this author has done). The DualSense 5, in particular, works both surprisingly and exceptionally well, but do you get a simulation racer to use with a controller? Also, with another racing sim offering more content on the horizon for the same price, you're better off waiting for a steep sale on this.

Scar-Lead Salvation has a lot going for it, but it's far from perfect. It features a bland story, mediocre enemies and passable passive abilities for your character. Many of the in-game animations are floaty, and at times, stiff. Combat animations in particular, such as shooting while moving, look jarringly odd when in motion. Losing clothing while you take damage during your run is unnecessary and doesn’t add anything to the overall gameplay; if anything, it takes away any charm the game could have. There's a lack of enemy variety, making each run through the facility bland and uneventful. What could have been a challenging and interesting new game in the genre falls apart as it becomes a mix of all the wrong mechanics in a singular game.

It's truly disappointing how Death end re;Quest: Code Z turned out. The previous two titles weren't stellar by any means, but they were entertaining and precisely in Compile Heart's wheelhouse. Compliments should be given to the developers for wanting to change things with this spinoff, but care should have been taken to make use of what the roguelike genre can do. Making use of the simultaneous turn-based combat is an inspired choice, but it feels like they slotted the core of the system into the title, but didn't have time to build on it. As the plot doesn't provide much of anything of interest, even fans of the first two games would be safe to give this a skip. This is an anomaly for the developer, as even their worst titles were good for a laugh.

A Quiet Place: The Road Ahead takes an interesting concept and fails to reach the mark, fizzling out into mediocrity before even getting started. The goal of remaining quiet is portrayed well with several successful mechanics (opening doors slowly, watching where you step), but becomes boring as the game fails to create engaging challenges while plummeting in quality. Fans of the franchise will get a kick out of this adaptation for the first few hours, but it's hard to imagine many players sticking around until the ending.

Until Then, with its innovative gameplay, stunning pixel graphics and emotionally-charged narrative is a game that transcends the boundaries of traditional storytelling. Despite a single minor interface issue, the overall experience is immersive, offering players a chance to explore the complexities of adolescence in a visually-captivating world. Until Then promises to leave a lasting impression, making it a must-play for fans of narrative-driven indie games.

The sad thing is that Silent Hill: The Short Message has a lot of good story ideas, characters and world-building, but then proceeds to waste them on completely unoriginal, shallow gameplay. It paradoxically wanted to move ahead and tackle more mature themes and stories, yet has gameplay that feels blatantly regressive, settling for the most generic aspects of modern horror games. If this is the direction that the franchise wants to take, then it's headed straight for a cliff. Hopefully the likes of No Code will be able to salvage things with their side games later, but for now, you can easily skip over The Short Message.

Enchanted Portals is an absolute mess, plain and simple. Every part of its gameplay is either way too random, broken, or broken in how random it is. It’s an insult to Cuphead and the other run-and-gun platformers it takes inspiration from, with awkward controls and unbelievably cheap difficulty. And it’s not like even a few patches down the line could help things much, since the level design would still be as dull as dishwater. Even the graphics and a couple of neat bosses can’t even begin to help salvage this wreck. Brief as it is, it’s still a travesty that doesn’t even deserve a clever closing line for its review.

If you’re looking for good party games on the Switch, you can do and have done better. If you’re looking for good games on Switch for casual players or kids, you can do and have done better. If you’re looking for good games on the Switch for multiple players…you get the idea. Everybody 1-2-Switch! is a game with no real reason to exist, and its lineup of mostly boring, overly simple, poorly-presented games fails to justify its existence. Moreso than its predecessor, you can easily skip this game, and your parties will be the better for it.

The Lord of the Rings: Gollum crafts a compelling story around Gollum and Smeagol, but it fails to craft a polished, stable or enjoyable gameplay experience. Unfortunately, The Lord of the Rings: Gollum isn’t the Precious we’ve been searching for.

From a studio having delivered far better and should in all likelihood have done so once more, Redfall is an uncharacteristically poor and cobbled-together brand of tedium. Though pockets of the developer’s signature traits remain when it comes to exploration, level design and reading up on the world of this fictional small-town settlement, it’s as far as the game goes in injecting a sense of care or thought to what it’s offering and asking of its player. Shamelessly limping from one half-hearted implementation and excuse to pad out its run-time to the next. The killing blow undoubtedly coming by way of its PC performance. A myriad of issues big and small that will take some doing to rectify. But even then, with a lack of enemy variety, creative mission design and simply reason to stay invested or evolve from out of, its gameplay just isn’t all that fun to engage with from the off. A bare minimum effort with such scarce appeal, Redfall stands as a devoid and near-lifeless pivot away from the standard we’ve come to expect from Arkane Studios.

Where Forspoken should’ve been a striking and appealing fresh start for Luminous Productions, the end result sadly is a game not only bland and unpolished, but deprived of a reason to care for its unfolding mystery. A bevvy of technical inconsistencies, lackluster open world design and most disappointing of all, a handful of systems with genuine enjoyment at times that don’t see their potential fully realized.

Sequels that don’t quite match the lightning-in-a-bottle status of its originator are nothing new. But it’s telling when a game like Sports Story regresses so much that the follow-up to one of 2017’s most charming and delightful little adventures is as miserable and misguided a release as it is. A game far too broad and all-encompassing for its own good, lumped into a progression that lacks cohesion, explanation and even the most basic of design principles. Resulting in an experience, though briefly entertaining by way of some pleasant distractions and spots of similarly-charming writing, technically and mechanically incompetent. How Sidebar Games could put out a game of this quality is puzzling and depressing on top, given how much genuine enjoyment was felt in the 2017 original. But Sports Story is a pale and poorly-constructed excuse of a sequel proving above all else that ambition and scale doesn’t always end well.

Vampire Survivors is a long slow burn that never stops getting hotter, maybe not quite the first of the genre it ignited, but certainly the best. [Early Access Provisional Score = 90]

From the technical production to its desired visual direction alike, you needn’t take one step into any of its lackluster dungeons to find something both unpleasant and unappealing to invest in. And once you do, you’ll find a core loop unashamedly insistent on dragging its heels all in the name of a loot grind that itself isn’t all that exciting. To say the dismal failings on its loot aspect — and perhaps, even its live-service ecosystem on top — isn’t even the lowest moment should give you a clearer picture on how badly PlatinumGames and Square Enix together have missed the mark here. It might then end up strangely poetic come year’s end. That after seeing what might arguably be the year’s best offering release in recent weeks, Babylon’s Fall by contrast, could very well stand as its worst.

There are moments when Tsugunohi succeeds as a horror game. The visuals and concepts for some of the chapters are incredibly disturbing. The understated, quiet moments of the game are the most effective. However, there was a push to make them more outwardly scary with continuous ghost sightings, monster jump scare tactics and these things ruin the mood. Atmosphere is everything in horror and it’s incredibly easy to lose its effectiveness. Tsugunohi is worth it for the curious horror fans out there, but others aren’t missing anything by passing on the experience.

Before beginning to play Akiba’s Trip: Hellbound & Debriefed, plans to write a screed defending the game while poking fun at the pure stupidity of the gameplay were already in motion. The assumption was that I would adore it the same way I did other games in the series. Instead, Akiba’s Trip: Hellbound & Debriefed is a buggy port of a PSP game with uprezzed geometry, character models and CG cutscenes. Everything else screams of a barebones or incomplete effort. For completionists, it’s cool to have the missing piece finally available in English. Actually playing the game, though, is simply not recommended. If the idea of killing vampires by ruining their outfits sounds intriguing, and it should, check out Akiba’s Trip: Undead & Undressed. It’s simply a superior experience.

There are plenty of better examples in the field of boss-rush titles — games that go out of their way to make even the spectacle and world around you, as inviting as their nuanced, tension-building encounters so wonderfully carve out. This, however, is not one of them. For all its screen-popping color and promise of literal time as a vital mechanic for success, Godstrike is a shockingly flat and tedious attempt at standing out.

Balan Wonderworld presents itself as having a world filled to the brim with imagination, ambition, whimsy, emotion and more. And while the game’s world has a lot of that, the actual game sadly does not. It lacks a solid narrative, satisfying gameplay and a good amount of variety, instead containing uninspired levels, awkward controls and a progression system that feels more like it rewards grinding. Fans of early 2000s platformers may be tempted to try it out, but there are far better alternatives to pick up instead. If this is supposed to be an ode to musical theater, then this is Balan Company’s Turn Off the Dark, and Balan Wonderworld is going to need a massive revamp in order for the franchise to survive.

A fleeting handful of positives to share, for Werewolf: The Apocalypse – Earthblood is a predominantly dull and tonally-misguided addition to the World of Darkness property.

Games built entirely around boss battles can be great. Furi is popular for a reason. Gods Will Fall might have been better served if that was the route they went. Instead, it’s bogged down with levels that, while artistically solid, weigh on the entire experience. There’s one group of folks that should check this out: students of game design. This is not along the lines of “ha ha, this game sucks so bad everybody should see it.” This isn’t Ride to Hell: Retribution. Instead, people much smarter than this reviewer will be able to thoughtfully debate and discuss what didn’t work, why certain things didn’t work, and learn from this. God Will Fall is mostly tedious, but it comes from an honest place with real effort. Clever Beans has the talent and potential to create a fantastic title. Their first swing, though, isn’t it.

With the brilliant heights that remakes of Resident Evil 2, for example, achieved last year, it felt inevitable that a remake like XIII would stand as the exact opposite result in that regard. Whether or not you’re the type to maybe excuse some of the failings as unanswerable solutions to an aged approach to game design, it doesn’t take away from just how little care and effort PlayMagic have placed in the other departments. Enemy intelligence that’s practically non-existent, an overuse on what seems like a meager, hurriedly-compiled assembly of audio and visual assets. On top of a gunplay premise that looks, sounds and feels objectively worse than that of the 2003 Gamecube original. 2020’s XIII is a broken, buggy and boring rendition of a game long-time fans deserve a better interpretation of.

Avoid at all cost; Gleamlight may have pretensions of depth, or at least a steady amount of enjoyment, but that’s all they are sadly.

The Revenant Prince is as far from joyous as one can get, resulting in one of the most frustrating, tedious and downright awfully cobbled-together RPGs to release in recent years.

It’s astonishing to see just how far off the mark Disintegration is in terms of how it looks and plays. An astonishment made painfully evident across both of its equally-unflattering, technically-flawed game modes devoid of any quirk, personality or lasting impression. Impressions that are of anything but the feeling of eliciting a smoke-screen so as to mask the game’s evident lack of ingenuity or creative endeavor. It’s more astonishing that, in a vacuum, the design philosophy underpinning its gameplay mechanics feel oddly “complete.” That the conceptual attempt to mix a decade-old mentality on “cinematic” shooter campaigns with some occasional strategy are on show. Showing us that yes, this concept appeals to neither camp — the shooter fan and detractor alike. But it’s the utter lack of care with its narrative, world, progression and above all set-pieces that stings most. Whittled down to the lowest common denominator in such a way you can’t help but feel this is a game ten years too late. One can only hope V1 Interactive can move on and lay claim to greater things in the near future, because Disintegration is a shockingly empty attempt at standing out.

To say that Tokyo Ghoul: re Call to Exist is a letdown is an understatement. This is a title poised to irritate fans, befuddle neophytes and generally just waste the time for everyone involved. This is a true throwback to ye olde days of bad cash ins. As one ages, nostalgia becomes a comfortable past time. Not in this case, though. Not in this case.

WWE 2K20 can’t be recommended in its current state and something like this should have never been released. There are less than a handful of bright spots and if they had just launched with 2K Originals and more importantly The Fiend, the most over WWE Superstar right now, it would have helped. What you get is a buggy experience and one glaring issue hampering an enjoyable experience in each of its different modes. MyCareer would be worth progressing through if you can stomach the awful loading times and Showcase would be great if the gameplay didn’t hinder actual advancement through the mode. In the end, it’s still a WWE game and Visual Concepts is promising patches.

What could you really expect from a fast food advertisement in the form of a visual novel? For what it is, you’ll get about an hour of humorous — but not hilarious — story to experience. You may learn a little bit about KFC’s founder as well. But more than anything else, the game’s detailed artwork of KFC menu items may make you want to go to the fast food establishment. By that metric, the game is a success. But as a visual novel, you’d easily be able to play something much better than I Love You, Colonel Sanders for free or just a few dollars.

With so many narrative, technical and gameplay issues that pop up at almost every turn — all wound up within some of the worst third-person stealth mechanics imaginable — Left Alive is both a horridly-conceived experience and a fundamentally unenjoyable product to even attempt to immerse one’s self in.

We’re only a month in and while we may already have some notable highlights, even to those heavily invested in this branch of explorative puzzle games, Vane feels like the first dull low of 2019.

The Quiet Man is nothing short of a shoddy, broken, incomplete, tonally-deaf chore of a few hours. Even some of the worst releases this year alone could, arguably, be deemed more ambitious and more focal to their aims (regardless of the end product/direction), but The Quiet Man doesn’t even rustle up the effort to at least try and explore its prime concept of a deaf protagonist. Worse, it doesn’t respect the players’ very presence and instead strips most of its reasoning and room for exposition away, leaving us with some of the most indulgent and confusing storytelling you’re likely to bear witness to.

As a fan of Nippon Ichi Software’s output as a whole (these are the people behind the Ys and Xanadu series, after all), it’s hard not to be disappointed with The Witch and the Hundred Knight 2. Despite the knowledge gained from the previous outing, the developer released a title that plays like the place their unused ideas of other places got sent to die. Staying prepared for the action takes up a huge amount of time and the action itself isn’t exactly compelling.

Outside of the cheese factor, everything here is just dull. Loads of banal conversations, wooden acting and obvious advice abound for every one moment you can laugh over Richard deciding to grab a girl’s rear end in what can only be described as a video game in the loosest sense of the term. This might be a weird thing to hear from a critic, but just wait for the highlights to go up on YouTube instead. You’ll get the same chuckle-worthy stupidity and save some money in the process. It’s a game about being a pick-up artist that you should in no way consider picking up.

It is extremely difficult to recommend Creature Romances: Kokonoe Kokoro to anyone other than the niche of visual novel fans who devour all games with non-human romances. They’ll of course need to read this one too, but no one else needs to worry. There’s little to be missed by not experiencing a story told thousands of times before with better characterization and drama. Here’s hoping that the otome version actually provides a better storyline instead of relying purely on absurd character design as its selling point.

Phantom 8 Studio shouldn’t be discouraged from future attempts at delivering a cinematic experience of a game on par with triple-A output, because they still have some neat ideas and directions to take. But there’s no getting around the fact that Past Cure is a massive flop right out of the gate. Bland combat, bland environments, bland performances, a plot that doesn’t go anywhere and an attempt to master multiple genres ends up creating a juggling act that drops all of the balls. Sadly, it appears the only medicine appropriate for this game is a full dose of strychnine.

There are far better ways to spend even the shorter spells of time on a complete package. The Station, sadly, is light-years away from being one of them.

Hoshizora no Memoria -Wish upon a Shooting Star- provides slice of life fun for those who enjoy it, with a bit extra in the form of its mysterious elements and plenty of routes, but it can often become a slog to read between key moments. While the localization provided is acceptable, the multiple issues with the text typos and formatting are not. Patches will resolve these issues, but there’s so many to resolve that it will likely take a while before they’re all finally smoothed out. Most can probably wait on this release until then to get the best experience.

The poor dialogue gives way to poor pacing, which leads to confusion in story and puzzles, taking I fell from Grace from bad to awful.

I really wanted to like Planet of the Apes: Last Frontier. The Apes world is fascinating and a Telltale-esque game set in that universe has all the makings for an amazing experience. While it’s an awesome idea, Last Frontier’s execution just isn’t there. Hopefully Imaginati Studios and 20th Century Fox don’t give up on this idea, though. Video games are iterative and developers learn from their mistakes. While Last Frontier can’t be recommended on its own merits, its concept has potential and shouldn’t be abandoned.

School Girl/Zombie Hunter had the potential to be a B-movie style good time that unfortunately is so bad that it’s bad. There are tiny bits of fun to be found among the numerous flaws, but the bad vastly outnumbers the good. Die hard fans of this type of thing could maybe give this a look if there’s a heavily discounted sale, but even then the bad gameplay will overshadow any camp value to be found. Onechanbara Z2 is actually a better alternative to this title, if that tells you anything, since it provides the same level of fan service but with better visuals, music and combat. School Girl/Zombie Hunter is basically Lollipop Chainsaw without the fun or any of latter’s redeeming qualities.

Monsters of the Deep is a beautiful tragedy in terms of a VR experience. The visuals are stunning and it could have been a great fishing simulation, but ends up being lazy and broken. A fishing VR game is a good idea and the controls may be better with the motion controls, but trying to fish is a hassle even when a sense of consistency is established.

Road Rage takes the Road Rash formula and fails to live up to any single entry in that series despite great advances in technology since its last entry — let alone its heyday. The racing action struggles due to poor controls, while the combat rings hollow with poor weapon selection and sub-par sound effects. Glitches and other technical problems muddy the experience further, while a lack of polish on everything makes the game feel like a cash-in on a minor “Road Rash revival” sub-genre.

Those who devour slice of life high school tales will not likely have qualms about playing this one. It tries to differentiate itself with the variety of character paths and manga author subplot, but unfortunately, none of this elevates the title above its peers. Instead, it stands as an easy, if predictable, read that can keep players company over a weekend gameplay session. If given the choice to spend their funds on this and something else from Sekai Project’s catalog (like the impressive Grisaia trilogy), WAGAMAMA HIGH SPEC proves a much tougher sell.

It’s rare to see a title with so much promise wasted. This is a game that needed some sort of oversight. Somebody needed to step up and explain that things were getting way out of hand with the currencies, that the mysterious appearing enemies style of challenge doesn’t fit with the mechanics as designed, that surprise instant death isn’t fun within the confines of a cover shooter. That didn’t happen. Instead of being pulled back from the precipice, MercurySteam merrily stepped over, embracing oblivion. The splatty mess that resulted was scraped up and released for Xbox One, PlayStation 4 and PC. The actual talent that went into this game dripped through the crack in this Broken Planet.

Titles like Senran Kagura or the Hyperdimension Neptunia series are incredibly dumb, but are also entertaining. Despite their glaring flaws, they warm this cold heart in my chest. Drive Girls drops the ball on every front that could redeem it. It squanders its concept with poor stage design, ruining the sense of momentum. It takes what should be a simple hack and slash action game and complicates with the most poorly considered control scheme this side of playing Dark Souls with a Guitar Hero peripheral. Even the story, which could have been a redeeming factor by way of just being amiable nonsense, is tedious and dull. If Senran Kagura is the one that gets too drunk at a party and embarrasses itself to the amusement of onlookers, Drive Girls is the one that pukes on the host’s pets and is confrontationally annoying. It’s unpleasant for everyone and people just want it to be gone.

Dream Daddy: A Dad Dating Simulator has ample promise and a lot of heart, but wasn’t given enough time to grow. Most of the dads are lovely to get to know and worth dating. Players want to spend more time with these guys, but only get three relatively brief dates to whet their appetite. Then there’s the fact that it doesn’t yet feel finished due to a fair share of typographical issues, mishmash of art styles and the amount of gameplay bugs still impacting the experience. Once patches go out these latter issues should be resolved, but nothing short of DLC or a sequel will bring players more time with the cast of dads who simply weren’t given enough time in the spotlight to really shine.

One cannot comprehend who Yonder: The Cloud Catcher Chronicles is meant to serve. Exploration is a chore based on frame rate issues and less-than-stellar graphics. Questing sucks because there is no real sense of progress or accomplishment. Farming and crafting is similarly pointless as there just isn’t a heck of a lot to do. I will confess to giving up after only a couple of hours in hopes that I was the recipient of Alpha code.

Randall should be better than this. It’s got all the elements in place to be good but they just don’t work right. There are some clever jumping puzzles that require the player to have pinpoint accuracy and consider jump height and how it relates to distance and not bouncing off the ceiling. The combat moves are well thought out, Randall’s abilities are used constantly in every area and the level art looks great. If Randall had the controls to match then this would be a nice little sleeper, but the pieces never come together to make it fun to play and the bugs drag it down even further. There are a lot of ways Randall could have been good, but without a character who can keep up with the action, it never manages to rise above being just plain bad.

Reservoir Dogs is a classic movie that deserves a better homage than Bloody Days for its 25th anniversary. The only equivalent would be if your dog died and it got replaced with a turtle. This was not an enjoyable experience and feels like an even sloppier cash-in on a movie franchise than the latest Ghostbusters game did. At least that had some depth. On paper, the idea of a Reservoir Dogs game coupled with what Big Star Games is pitching would warrant a purchase, but the annoying Time Rewind feature and complete lack of connectivity to the actual movie makes this feel like a trip to the dentist. Although at least with that you’d come out with clean teeth.

When approaching Mighty Monster Mayhem, it’s fair not to expect top of the line, wiz bang graphics. Rank17 is a low budget indie studio and needs to make some understandable compromises. Instead, it’s reasonable to hope for a title to competently take the narrow focus of emulating a game from the 80’s using simplified graphics, allowing the novelty of the input to carry it the rest of the way and have it come out playable. The developer got some of it right, but the vast majority of this game is riddled with too many cracks in the facade, indicating it was launched way too soon.

NEKO-NIN exHeart is not a game for every visual novel lover out there. It’s squarely targeted at the audience who knows they like catgirls and seek out stories about them regardless of quality. This isn’t an experience for someone looking for deep storyline, epic romance or even a lot of dialogue choices. The dull writing and technical issues don’t make a great impression either. The best aspects of artwork and voice acting help smooth out the rough edges, but only to a degree. Still, if you’re waiting on more Nekopara goodness to arrive then NEKO-NIN exHeart will probably tide you over for a couple hours.

With frustrating tech, unappealing appearance and a lack of quality of life streamlining, Torment: Tides of Numenera might actually be my biggest gaming-related disappointment since I bought an Atari Jaguar.

Despite its ambitious stride to tell a gripping tale of a father/husband striving desperately to look for his missing family, Husk‘s end delivery is anything but. With a host of mechanical and structural oddities breaking numerous points of immersion where it’s seldom gained — both before and after post-release updates — across environments that, though blended rather well into one another, could very well be found in ample other titles using horror as an attribute, Husk is a frustrating game to recommend. Marred by technical difficulties that come to question just how “finished” this game truly is/was, Husk is another example of a studio that have mistaken basic nostalgia for the wealth of enjoyment.

A love letter to both the show and beat-em-ups that falls short of reaching its goals. The franchise’s earliest games were largely better than this, and while this does scratch a nostalgia itch to some degree, it isn’t a satisfying gaming experience. Movesets are far too lean and there are too few enemies to keep the action interesting for very long. Dedicated fans of the show may want to check it out, but everyone else can safely skip it.

The best aspect is absolutely the ability to use and counter spells, but even that strategic element is unnecessary during the majority of battles. From the adequate but eyebrow-raising animation to forced rather than desirable replay value, it’s tough to recommend MAGICAL×SPIRAL.

At this point gamers are simply looking for more sophisticated experiences with their expensive headsets. Crystal Rift might keep players exploring for a while, but it feels like a prototype for a better game which doesn’t yet exist.

Weeping Doll is the kind of game that looks like it’ll be a scary, enjoyable romp. The visuals make this home come to life in virtual reality, but that’s about the only positive note about the whole experience. Instead of providing a frightening journey, players are greeted with mind-numbing puzzles which only serve to block progression when a player forgets to check certain items.

Not only is PlayStation VR Worlds playing it safe, it is not selling virtual reality in a strong enough way. It’s easy to show off the technology with a space-piloting game and first-person shooter, but what these tidbits of games fail to do is entertain players in the long run. They make it seem as though virtual reality is a novelty with absolutely no depth to it, which isn’t the case at all.

The ideas behind Loading Human: Chapter 1 are exciting, but they don’t get to shine like they should due to a weird control scheme and ineffective acting.

Everything is just far too repetitive (not to mention tiring) to get folks through the campaign. A co-op mode didn’t even make it out in time for launch, which could have at least added some reason to keep playing. Ace Banana may be technically sound, but it’s plainly uninteresting when compared to the rest of PSVR’s launch lineup.

While there’s no argument against the principle Shiny has a good concept going for it as far as offering consideration before taking that next pivotal action — no matter how minor it might be — its woefully-optimized performance and presentation (visually as well as from a design perspective) can put many off even the more notable of classic platforming segments.

There are plenty of games that are built around ridiculous ideas, but they have enough content built into them that make them enjoyable for more than five seconds.

A title marred by technical and visual anomalies, perhaps its run-time could be considered an ironic hindsight.

Given the number and diversity of titles in the survival sandbox genre, there is little reason to explore the world of Shattered Skies and plenty reason to give it a miss.

Dreambreak may look pretty on the outside, but peeling back its pixelated style and impressive music reveals the dull story, flat characters, lack of substance and clunky gameplay within.

My Little Kitties is a two to four hour visual novel which might appeal to people looking for a brief view into the life of a high-school aged father, but it is somehow not nearly as cute as the name implies.

This thing is so awful that it isn’t even worth the effort to cram in an obligatory reference to the original films. The real problem is that the likelihood of these criticisms being heard by the person responsible for releasing this mess is practically zero, seeing as how the complaints would be drowned by the deafening sounds of the giant metal clackers required to think this was okay.

Albino Lullaby: Episode 1 is a most unnerving horror game, but not the all-around freakiest or best from a gameplay perspective. Despite some A+ design work, there is a real lack of compelling gameplay at the core.

You need to provide a seriously great experience to make it worth the strain and The Climb simply doesn’t manage to provide compelling gameplay for even the most die-hard virtual reality fans.

Even with its low asking price it is hard to push out a recommendation for this party.

The end result is a cluttered mess that constantly tries to keep you active with something, anything at random, in order to distract you from the poor design.

While Homefront: The Revolution had potential to be great, its mediocre gameplay, lackluster story and myriad of technical issues make it one of the biggest disappointments of the generation. The PC’s iteration’s disastrous framerate and texture streaming follies take what could have been a halfway decent game and make it a pure test of patience on the part of the player.

Play Adventure Capitalist or Clicker Heroes instead.

The second episode of Blues and Bullets falls short in enough ways to make it easy to recommend staying away from it at this point until all five episodes are out in the wild.

Slain! gleefully comes off as the fever dream of a drunken teenage Iron Maiden fan, but unfortunately comes off as having been designed and programmed by a drunken teenage Iron Maiden fan as well.

There are just too many issues to make this a worthwhile purchase.

It would be great to see more titles in the genre take on criminal narratives rather than those of pure romance or action, but this visual novel stumbles rather than strides confidently down that path.

Alekhine’s Gun is a title where the ambition of design outmatches the execution with gusto.

While I want desperately to share yuri goodness with gamers, Sacrament of the Sheep: The Confused Sheep and the Tamed Wolf is not going to receive my recommendation.

Unfortunately, Doors fails — as a finished product — with so many of its critical aspects.

To put it bluntly, Bombshell is a dud. What once began as something that had potential to become a so-stupid-it’s-awesome classic ended up being merely…well, it isn’t even really that stupid as a whole, just dull.

Arguments could be made that the inception of this title was well intentioned with some great plans, but the execution is where everything falls apart like a Formula One racer held together with Silly Putty.

While the mechanics are enticing, it’s far from standing out as an otherwise satisfying experience.

Whatever cheap thrills this visual novel does include aren’t worth sitting through incredibly flat writing and a lack of substance for. If you’re looking for shiny anime mammaries, hit the rest of the internet instead.

I desperately wanted to love Aviary Attorney. After all, it was doing so many things that seemed totally fantastic. One, it was gathering inspiration from the Ace Attorney series and two it was creating a marvelous-looking anthropomorphic animal-filled version of France. Somehow, though, it didn’t come together as expected.

Temple of Yog is a title that would demo quite well; the first ten or so minutes revealed some fantastic possibilities. Actually trying to play the thing for any real length, however, becomes a chore of the highest order.

For a game that has such an incredibly interesting premise, 1000 Heads Among the Trees is utterly woeful in execution.

It’s hard to recommend FIVE: Guardians of David to anyone. Fans of action RPGs have literally dozens of better games to choose from. Even gamers who would like to play an RPG without being assaulted by bloodshed have some excellent choices, such as the Torchlight games.

Since the heyday of Rollercoaster Tycoon and Theme Hospital, it’s not often that lite-management sims get a chance to strut their stuff. This was not originally meant to be that game, but it could have been with a change of the business model. Instead this is a title that is balanced for tedium.

Unfortunately, after the initial seconds, Tennis in the Face completely fails at being enjoyable. It’s physics can be erratic, levels seem untested and the quirky humor gets old fast. The sound effects go a long way towards making this game remotely tolerable, and occasionally a wry grin can be had at a pile of donuts showering the screen.

In its current state, it’s impossible to enjoy.

Even if you’re a fan of the books or HBO show, there’s not much incentive to play Telltale’s Game of Thrones.

Dragon Fin Soup is a great game trapped in a terrible game’s code.

For all the promise Pixel Pi shows amid the early phases, Pulse sadly delves little further into evolving from out its basic foundation — new ideas introduced later on feeling out of place and poorly executed, it’s hard to see them as anything other than square pegs forcibly shunt into round holes.

This is a port of a mobile game that came to fruition via crowdfunding; one with a Google Play page that is loaded with accolades. It is at this point where the final piece of evidence must be introduced: the overuse of tired memes.

With all of the wasted potential and the abuse of a cult-classic property found here, Overlord: Fellowship of Evil is not good.

Bedlam may suit your needs if all you need is a trip down FPS memory lane, but you’re better off seeking any number of similar titles which actually offer compelling gameplay.

So much of Armikrog feels neglectful and lazy, lacking anything to make it stand out. Even the claymation look of it doesn’t save it from the carelessness put into it. It’s hard to see where that million dollars went. All of that said, it isn’t terrible, but if you’ve never had the pleasure of playing The Neverhood, do yourself a favor and pick that up instead.

A mess. While the mechanics are slightly unpolished, they still have a similar feel to what we’ve come to expect, which can result in some enjoyable antics. Unfortunately, they are contained in a constrained formula where the player must navigate menu after menu to get into repetitive and uninteresting missions.