Kill Screen's Scores

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For 340 reviews, this publication has graded:
  • 19% higher than the average critic
  • 5% same as the average critic
  • 76% lower than the average critic
On average, this publication grades 8 points lower than other critics. (0-100 point scale)
Average Game review score: 67
Highest review score: 90 Bloodborne
Lowest review score: 7 Hatred
Score distribution:
  1. Positive: 112 out of 340
  2. Mixed: 199 out of 340
  3. Negative: 29 out of 340
340 game reviews
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    • 68 Metascore
    • 65 Critic Score
    Mafia III
    Mafia III is a game that’s held back by its conventional anchors. It wants to be game about the South but remains content to use its setting rarely as little more than a local color curiosity. It proposes a radical representation of race but falls prey to the conventional chores of open-world banality. Though it initially seems eager to “Tell about the South,” Mafia III does not have the patience or interest to do so. Its violence and exploitation-style racial politics, however, make the trip to New Bordeaux worth effort—as long as the person heading down South isn’t looking for anything more than a sightseeing tour.
    • 73 Metascore
    • 72 Critic Score
    Ladykiller in a Bind
    For the most part, Ladykiller in a Bind dares to be unapologetically itself rather than a game made for any one set of people.
    • 74 Metascore
    • 68 Critic Score
    The Curious Expedition
    It also places that desire for discovery within another person’s mind, just like Conrad, and keeps its player, like Conrad’s reader, at a critical remove. It lets you see a bigger picture than the grid of hexagons it depicts; it lets you see the mindset that creates the grid, and what that way of thinking inevitably ends up doing.
    • 64 Metascore
    • 54 Critic Score
    Masquerada: Songs and Shadows
    Masquerada declines as the plot slows down. The herky-jerky pace gets more grating, the mania for proper nouns more distracting. What looked like a scrappy little underdog RPG turns out to be a collection of worn-out ideas.
    • tbd Metascore
    • 60 Critic Score
    THOTH
    Thoth isn’t here to make friends. It is decidedly ruthless and daunting, a challenge with matched aesthetics, but not a whole lot more than that.
    • 71 Metascore
    • 56 Critic Score
    Aragami
    A good game, like any good work of art, should make you wonder; it should give you a reason to care about what happens, just as it should give you reasons to enjoy what it asks you do. Aragami feels only half-invested in doing both of those things, so it does neither. By failing to follow through on its own best ideas, it leaves us with nothing but a shadow of the game that could have been.
    • 86 Metascore
    • 68 Critic Score
    Gears of War 4
    Gears 4 takes only half measures. It discards a lighthearted adventure premise for another fate-of-humanity monster invasion. It gives up on the anti-militarist bent of its early fight against the COG for another plot about soldiers trying to save humanity.
    • tbd Metascore
    • 65 Critic Score
    Beglitched
    You’d hope that, once you’ve figured out Beglitched’s puzzle system it would start to gain momentum. In fact, what happens is it starts to feel a little repetitive.
    • 72 Metascore
    • 55 Critic Score
    Destiny: Rise of Iron
    In a detail that I can only laugh at, my most enjoyable time spent with Rise of Iron was in fact spent climbing a mountain.
    • 58 Metascore
    • 54 Critic Score
    ReCore
    By the game’s end, I found I didn’t care about any of the characters. Instead, I was fed up, hunting down the rest of the prismatic cores in order to reach the end. The game had done a full 180. It’s a major disappointment, given the promise ReCore shows at its beginning, when it’s just Joule and Mack.
    • 66 Metascore
    • 51 Critic Score
    Tahira: Echoes of the Astral Empire
    A competently executed tactical RPG with a jejune script and stylized window dressing.
    • 70 Metascore
    • 62 Critic Score
    Mother Russia Bleeds
    The most flattering description I can offer Mother Russia Bleeds is that of an enjoyably formulaic brawler, but the ferocity of its execution was refined enough to get lodged in my head. I can’t quite work it out: it exists like a ringing in my ears that has no obvious source. Or, rather, it’s a third-gen VHS copy of its influences, a quavery deja vu of a violent brawler both familiar and unsettling.
    • 62 Metascore
    • 65 Critic Score
    Moon Hunters
    While Moon Hunters may not be the perfect game, it nobly aims for the stars, and for that alone it is memorable.
    • 82 Metascore
    • 72 Critic Score
    The Banner Saga 2
    It’s the decisions that bind the experience; enabling The Banner Saga 2 to transcend its videogame construct. You’re left with an experience that feels not only alive, but alive with the complexities of the real world.
    • 71 Metascore
    • 70 Critic Score
    Grow Up
    Grow Home had a simple purity to it—you were a robot, it could climb, and so it did, all the way up to space. Grow Up repeats this journey but steadily turns BUD into Inspector Gadget as you complete its trials.
    • 71 Metascore
    • 67 Critic Score
    Bound
    But, despite all its flaws, Bound is undoubtedly a celebration of the female form, both physically and spiritually. And, for that, it could be said to be a game better viewed as one to experience rather than to play, and the fact that it tries to encompass so many deep psychological metaphors in the videogame format is an ambition worth praising.
    • 84 Metascore
    • 73 Critic Score
    Deus Ex: Mankind Divided
    For being a cyberpunk ode to the potential promise of transhumanism, the missions around Mankind Divided‘s central narrative feel terribly familiar.
    • 73 Metascore
    • 68 Critic Score
    Death Road to Canada
    It doesn’t exactly crack open the full literary potential of randomly-generated story beats, but it does use it to an enjoyable-enough cutesy effect, which is pages more than most flarfy corpses have ever achieved.
    • 70 Metascore
    • 65 Critic Score
    Near Death
    Ultimately, though, Near Death has nothing to say beyond the struggle to navigate the harshest environment on Earth.
    • 74 Metascore
    • 55 Critic Score
    I Am Setsuna
    I wish I Am Setsuna took me on another beautiful, multifaceted adventure like it wanted to, as the JRPGs that its creators admire once did. I wish the characters weren’t bland caricatures of familiar characters I’ve seen in the past. Instead, it feels like a cold attempt at harboring nostalgia, only managing to remind me of JRPGs of the golden age, and how so much better they were—and, critically, still are.
    • 79 Metascore
    • 58 Critic Score
    Anarcute
    Many games, largely, want to create mayhem where messages may also occur, while protests, largely, want to create messages where mayhem may also occur. Anarcute wants an adorable inferno. The joke is that the destruction is big but the perps are cutie wuties. But I don’t know if I have the planet to play it on.
    • 78 Metascore
    • 70 Critic Score
    Zero Escape: Zero Time Dilemma
    The story can go any way imaginable—from everyone coming away completely unscathed to literally causing the apocalypse—more so than maybe anything else I’ve ever played.
    • 69 Metascore
    • 68 Critic Score
    Mirror's Edge Catalyst
    It has been suggested that Catalyst is a remake of Mirror’s Edge, or a reboot, but it is in reality a re-alignment of the first game with the recognizable features of a mainstream videogame, a reparation between the most original of its ideas and the most generic features of its medium.
    • 78 Metascore
    • 69 Critic Score
    Stellaris
    Like Mass Effect, Dune, Foundation, and countless other sci-fi universes, it builds its extraterrestrial world from the ground up. Stellaris only borrows from all of their palettes to paint its own picture of the night sky—and a game about aliens feels all the less foreign as a result.
    • 81 Metascore
    • 50 Critic Score
    Bravely Second: End Layer
    By trying to optimize it, the brave/default system inadvertently lays bare the arbitrariness structuring the player’s relation to the game, the role one ostensibly plays becoming repeatable and, indeed, automatable in yet another striking parallel to the looming “new economy.”
    • 40 Metascore
    • 50 Critic Score
    Slain!
    Slain! is a poser, well-dressed and intentioned but vacuous, contributing nothing to the scene. It has the spiked gauntlets, the long hair, the denim jacket; but the house lights are on and everything’s out of tune.
    • 55 Metascore
    • 67 Critic Score
    OmniBus
    OmniBus would work better if it rolled with its own punches instead of creating a system that only exists to be fought with—the reward is smaller when randomness does so much of the grunt work. Just sit back and let the car drive you into the sun. Life just flies by so fast when you’re having fun.
    • 53 Metascore
    • 60 Critic Score
    Shadwen
    With more time to flesh out the world and, most importantly, a more creative progression of challenges to match your skill, this could have been a special game. Instead, just as its titular character is trapped in time by default, Shadwen is a stealth game forever trapped in a state of adolescence.
    • tbd Metascore
    • 55 Critic Score
    Glitchspace
    A couple hours into Glitchspace, I hoped for a break in the progression and the chance to explore my newly acquired skills, but instead the complexity is continuously layered on top of itself until the game ends.
    • tbd Metascore
    • 60 Critic Score
    Ace of Seafood
    Ace of Seafood is not a game about what it’s like to be a fish. But it does, in oddly literal ways, imagine what it would be like for a human to be a fish, albeit a marauding and cybernetic one. But perhaps that’s exactly the point.
    • 69 Metascore
    • 50 Critic Score
    Star Fox Zero
    As a game, Star Fox Zero isn’t so much broken as deeply and disappointingly lacking in inspiration. Shiny but not smooth, it’s a game about a space-faring fox in a spaceship that turns into a chicken without any sense of joy, and that might be the biggest disappointment of all.
    • 66 Metascore
    • 62 Critic Score
    Quantum Break
    Quantum Break, in enlarging their length and complexity, turns them into a crutch that’s forced to support a game that can’t consistently match their appeal.
    • 76 Metascore
    • 70 Critic Score
    Pokken Tournament
    From this perspective, the Pokémon isn’t a creature of its own agency, but a mere extension of its trainer’s body and mind; a tool in a rat race, forever wrestling in the futile pursuit of human ambition. And when you look at it that way, all the thematic waffling starts to make a whole lot of sense.
    • 59 Metascore
    • 58 Critic Score
    No Pineapple Left Behind
    In No Pineapple Left Behind, from Subaltern Games, you play as this peculiar principal. You have to juggle the responsibilities of supporting teachers, improving students’ grades, and managing a budget. This is quite a job, where accounting for every dollar of your daily spending allowance becomes crucial. It is much easier to resort to your magical power, which drains the humanity from kids, turning them into pineapples.
    • 80 Metascore
    • 50 Critic Score
    Tom Clancy's The Division
    The Division is a game so eager to criminalize the poor, so eager to play into clichés of class war. Yet it staunchly refuses to take responsibility for its representations, for its politics. If we want that to change, we have to make it, and its creators, responsible.
    • 64 Metascore
    • 55 Critic Score
    Californium
    Californium is only here to deliver the report: life is a pixel hunt, and there is no hint line.
    • 73 Metascore
    • 70 Critic Score
    The Flame in the Flood
    Its view of America is simple, but simplicity keeps the game focused on survival in a wilderness that refuses to be tamed.
    • 76 Metascore
    • 65 Critic Score
    Far Cry Primal
    Far Cry Primal is basically everything I just described, without a whole lot of irony. Which is to say it often feels enormously, almost amazingly stupid.
    • 72 Metascore
    • 66 Critic Score
    Layers of Fear (2015)
    Stomaching the jump scares and heavily recycled horror imagery will earn you a handful of mesmerizing vistas, but Layers of Fear fails to challenge or transform its central trope.
    • 89 Metascore
    • 73 Critic Score
    Stardew Valley
    Despite all odds, it seems Stardew Valley is a different game than the one it mimics. And a pretty fun, different game at that.
    • tbd Metascore
    • 66 Critic Score
    Solstice (2016)
    Having laid the groundwork for interrogating this dynamic, however, Solstice tends more toward murder mystery dinner theater than fantasy film noir. A penchant for playful melodrama and comedic banter in many ways undercuts the tension established through the game’s mystery and its interactive methods for unraveling it.
    • 76 Metascore
    • 60 Critic Score
    Mario & Luigi: Paper Jam
    As with many Nintendo games of the last few years, its gameplay elements are immaculately designed but risk nothing.
    • 76 Metascore
    • 73 Critic Score
    American Truck Simulator
    American Truck Simulator reflected the anxious reality, but also allowed me to appreciate the grandeur of it all. I can finally see what I presume most other Americans have always enjoyed: Endless waves of asphalt paved just for me, veining the contiguous southwest, begging to be casually traversed.
    • 83 Metascore
    • 72 Critic Score
    Devil Daggers
    If you’re going to be damned for all eternity to fight for your afterlife, at least it’s with such a lovingly crafted homage to the shooters of yesteryear—and you don’t even need to worry about whether you’ve got the latest Soundblaster card this time around.
    • 62 Metascore
    • 72 Critic Score
    Between Me and The Night
    Atmospheric traumas might read as much like the privilege of a certain upbringing as the Matisse print hanging up in the protagonist’s childhood home. That said, Between Me And The Night never feels less than sincere and heartfelt while doing this. And if you can embrace its perspective, the game stands to offer a moving and smart depiction of navigating life through the scrim of an angst born in childhood.
    • 81 Metascore
    • 74 Critic Score
    Firewatch
    It’s a beautiful, beguiling place to spend some time, absolutely worth it while you’re there, but sooner rather than later you’ll yearn to shed its shackles, to get off the beaten path.
    • 73 Metascore
    • 65 Critic Score
    The Deadly Tower of Monsters
    That said, while The Deadly Tower of Monsters might be silly and a little clunky, it’s hard not to root for something that lovingly apes (for lack of a better word) a bygone era so successfully.
    • 78 Metascore
    • 55 Critic Score
    Unravel
    Despite all of its cutesy posturing and promises, Unravel is still looking to fill some kind of void. And I’m not sure if that void is its shortcomings as a mood board, as a videogame, or a cloying digestible basket of “feels” for EA.
    • 63 Metascore
    • 60 Critic Score
    The Westport Independent
    The game does deliver scenes between levels that color some of your writers’ inner lives, but they are too minor to establish much empathy for, say, a writer disappearing by the regime’s hand in the post-game wrap up.
    • 77 Metascore
    • 73 Critic Score
    Aviary Attorney
    A visual novel sipped through a Gilliam straw.
    • 73 Metascore
    • 67 Critic Score
    Tom Clancy's Rainbow Six Siege
    Rainbow Six: Siege has the basic pieces in place to offer that experience but sabotages them by forcing the illusion to rub against the real world in ways the fantasy isn’t prepared to handle. More often than not, playing Siege, one doesn’t feel like a soldier. You feel like a player. And that’s precisely what this game doesn’t want.
    • 78 Metascore
    • 71 Critic Score
    That Dragon, Cancer
    Numinous Games’ That Dragon, Cancer does not suffer from this problem; the pain feels real, the sadness is authentic. This is not surprising given that the game is undisguised autobiography: Ryan and Amy Green created it as a meditation on their family’s journey as their son Joel was treated for and eventually killed by brain cancer.
    • 84 Metascore
    • 50 Critic Score
    Xenoblade Chronicles X
    It ought to remind us of what’s so good about the maximalism of other JRPGs.
    • tbd Metascore
    • 57 Critic Score
    Prominence
    Prominence isn’t so much a failure as it is a missed opportunity. With a narrative background about an oppressed people struggling to free themselves by pushing the limits of science and technology, the story is set up for success. But unfortunately, those possibilities are rarely explored in Prominence itself, making for a rather sterile narrative experience with sleek sci-fi surroundings.
    • 43 Metascore
    • 50 Critic Score
    Void and Meddler - Episode 1
    The game is aesthetically rich, but it lacks heart.
    • 72 Metascore
    • 55 Critic Score
    Anno 2205
    Glorious though Anno 2205’s cityscapes may be, a game that justifies the banality of numerical mechanics through visual sensation alone is inevitably one that provokes the question of whether or not it needed to exist at all.
    • tbd Metascore
    • 64 Critic Score
    Game of Thrones: A Telltale Games Series
    I’m a big Game of Thrones fan, but Telltale’s game series is, unfortunately, inessential material.
    • 87 Metascore
    • 50 Critic Score
    Bloodborne: The Old Hunters
    More isn’t bad just for its faults and repetitions. It’s worse than that: Bloodborne was pure—and The Old Hunters dilutes it.
    • 73 Metascore
    • 65 Critic Score
    Just Cause 3
    Without compelling characters or inventive story missions, all that’s left to keep the audience entertained is destruction, repeated ad nauseum. There’s value in the small-scale satisfaction each explosion creates, but an empty feeling lingers after every plume of smoke has cleared.
    • 73 Metascore
    • 60 Critic Score
    Star Wars Battlefront
    Battlefront offers everything my childhood experience of Star Wars did not. For all its polish, it brand-name polish, it lacks that creative energy found in building battles from faded toys and dumb ideas. Battlefront imposes limits and gates on an expansive universe, reigning in instead of expanding the possible ways to become part of that world. As such, the game remains mercenary in its goal of selling an experience solely on those feelings we have about that galaxy far, far away.
    • tbd Metascore
    • 60 Critic Score
    Lovely Weather We're Having
    Lovely Weather is Animal Crossing without all the stuff.
    • 73 Metascore
    • 60 Critic Score
    WWE 2K16
    Despite relative improvements in presentation, WWE 2K16 ultimately makes a crucial mistake when it comes to understanding professional wrestling: the fiction is a lot more fun than the reality.
    • 78 Metascore
    • 70 Critic Score
    Yoshi's Woolly World
    It’s the ludic equivalent of the James Bond series.
    • 66 Metascore
    • 60 Critic Score
    Need for Speed
    Yet in Need for Speed the handling, the fun, the art, all of this, they are so stacked under layer after layer of meaninglessness, multi-faceted surfaces that gesture at everything and deliver nothing. It was a good run, but as I came off the slope and headed into a tunnel bathed in tungsten glow the moment was lost.
    • 67 Metascore
    • 72 Critic Score
    The Park
    This game is impossible to play without thinking, specifically, of the Australian horror film The Babadook.
    • 86 Metascore
    • 68 Critic Score
    Rise of the Tomb Raider
    Lara’s therapy was a failure. Rise of the Tomb Raider was not, but it did force me to reconcile the uncomfortable paradox of the titular badass also being an emotional wreck.
    • 79 Metascore
    • 70 Critic Score
    Warhammer: End Times - Vermintide
    The titular vermin of Vermintide may come in a horde, but they’re all unique, in their weird, chittering way. It almost makes me feel bad about the carnage I’ve spent the last ten hours dealing out to them.
    • 68 Metascore
    • 71 Critic Score
    NOVA-111
    Most of the time it’s thrilling, but Nova-111 still wants to hold on to collectables, time trials, and block-pushing. Its clichéd “rescue the scientists” story aims high, at a Hitchhiker’s Guide sort of humor, but the “quirky” element feels forced—when lead scientist Dr. Science isn’t giving you tips, he’s telling you he really likes sandwiches and has unresolved issues with his mother.
    • 77 Metascore
    • 65 Critic Score
    Transformers: Devastation
    Revives the visual style of a cartoon aimed at ten-year-olds.
    • 67 Metascore
    • 61 Critic Score
    Fatal Frame: Maiden of Black Water
    Thankfully, the lynchpin for this game is a pretty decent lynchpin, so if you love ghosts and Instagram and don’t mind redundancy, then Fatal Frame: Maiden of Black Water is the sixth scariest thing you can do with a camera.
    • 76 Metascore
    • 70 Critic Score
    Assassin's Creed Syndicate
    Assassin’s Creed: Syndicate lets you science the shit out of murder in a city where people are sciencing the shit out of everything. There's an undeniable appeal to that. But it’s an appeal worth looking in the face.
    • 92 Metascore
    • 65 Critic Score
    Undertale
    Its limited combat options and often obtuse puzzle solving, alongside the sheer endurance required to survive boss fights long enough to end them, add up to a system that doesn't point to any elaborate moral insight. It simply points to itself.
    • 57 Metascore
    • 58 Critic Score
    Armikrog
    By the time it’s done, Armikrog feels more like The Neverhood’s mulligan.
    • 83 Metascore
    • 55 Critic Score
    Prison Architect
    Simulations can distort for good, and so help us resist, or ill, and obscure the forces that corral hearts and minds. Every system locks us up. But sims like Prison Architect throw away the keys.
    • 83 Metascore
    • 60 Critic Score
    Lara Croft GO
    Without any friction to the player’s actions, the game’s title becomes a suggestion rather than a command.
    • 59 Metascore
    • 66 Critic Score
    Dream (2013)
    It’s true that Dream can be beautiful and fun at times, but its structure too often holds it back from being something great.
    • 76 Metascore
    • 68 Critic Score
    Persona 4: Dancing All Night
    All of which leaves Dancing All Night as a rare mix: at once a good dancing game, a bad Persona game, and a Vita game.
    • 69 Metascore
    • 58 Critic Score
    Mad Max
    It delivers a vast, meticulously rendered desert with nothing special to see.
    • 87 Metascore
    • 64 Critic Score
    Pro Evolution Soccer 2016
    PES 2016 stumbles under the weight of all its divergent modes and duties
    • 79 Metascore
    • 74 Critic Score
    STASIS
    By placing your adventure in the context of all the other tragedies aboard the Groomlake, a kind of familial intimacy develops.
    • 65 Metascore
    • 70 Critic Score
    Rememoried
    “Complicated” is not the same as “complex,” and nowhere does Rememoried fail to parse this distinction than in its unconventional ruleset.
    • 80 Metascore
    • 70 Critic Score
    Dropsy
    As the game becomes more “normal,” Dropsy’s original challenge of endearing himself to those he repulses fades, and the puzzles start seeming a little tedious. So many are based around a difficult to manage day/night cycle, and many others around the talents of collectible animals. But before things escalate, when it’s just the story of a clown without a circus, the sentiment warms you like a hug.
    • 49 Metascore
    • 69 Critic Score
    Corpse of Discovery
    You are not truly alone in Corpse of Discovery, but the videogame shows how loneliness is a question of degrees and shades, and not a simple binary. It is through this three-dimensional exploration of the pilgrim on a foreign world that the game shows its worth.
    • 71 Metascore
    • 60 Critic Score
    Volume
    Volume’s strengths are primal but simple, at times feeling like a Crossy Road-style time-passer with a cyberpunk sheen. It tries but ultimately doesn’t say much of modern society or governments beyond the elementary. Indeed, it is the modern videogame incarnate, warts and all.
    • 93 Metascore
    • 69 Critic Score
    Metal Gear Solid V: The Phantom Pain
    The Phantom Pain is different. It, like its predecessors, wants to remind the player that war is, indeed, hell. But, in giving over to structural bloat it obscures the tremendous promise established in its opening hours, trading the narrative power of violent anguish for a routine, Sisyphean take on torment.
    • 76 Metascore
    • 67 Critic Score
    Pillars of Eternity: The White March - Part 1
    It’s more of the same, just colder and thinner.
    • 46 Metascore
    • 68 Critic Score
    Viridi
    The game is best experienced as an occasional therapeutic exercise.
    • 82 Metascore
    • 70 Critic Score
    Galak-Z: The Dimensional
    This hot mess is deliriously fun, a game from a simpler time that might find more contemporaries in New Arcade than in other neo-roguelikes.
    • 66 Metascore
    • 55 Critic Score
    Absolute Drift
    There’s no danger in Absolute Drift, just repetition. Every point is a slam dunk. Every swing a hole-in-one. Every meal is dessert, and I’m starting to miss broccoli.
    • 82 Metascore
    • 72 Critic Score
    King's Quest Chapter 1: A Knight to Remember
    For the moment, King’s Quest remains caught in a particularly strange-yet-familiar space, halfway hearkening back to an older era but seemingly aware that it was a time that needed improvement.
    • 65 Metascore
    • 65 Critic Score
    Feist
    The game’s insistence on minimalism gives it an elegance but, conversely, it also gets in the way.
    • 76 Metascore
    • 73 Critic Score
    Life is Strange: Episode 4 - Dark Room
    Come October shall we look back and wonder where this potential went? Perhaps we shall ask ourselves what could have been done differently. Or, perhaps, Life is Strange will navigate these concerns, becoming the game we hoped it would be.
    • 69 Metascore
    • 63 Critic Score
    Pneuma: Breath of Life
    Pneuma is an absolutely unsuitable receptacle for questions of spirit or life.
    • 74 Metascore
    • 55 Critic Score
    Game of Thrones: Episode Five - A Nest of Vipers
    “Why do the gods continue to shit on this house?” asks Sir Royland, shaking his fist up at the sky and its oily, vague shades of blue. It’s a question I’ve asked myself again and again throughout this series, and one Telltale has avoided answering far too many times.
    • 79 Metascore
    • 70 Critic Score
    The Magic Circle
    There’s a spirit of revolt in your work, a rhetoric of mortals killing the gods competing for control of The Magic Circle.
    • 72 Metascore
    • 65 Critic Score
    Guild of Dungeoneering
    The interplay of Dungeon Master and player is controlled chaos, thrilling in its unpredictability, while the outcome of Guild of Dungeoneering is a foregone conclusion: I will throw a neverending horde of adventurers at a dungeon until I complete it or get bored and wander away.
    • 66 Metascore
    • 55 Critic Score
    Knee Deep, Act 1: Wonderland
    Knee Deep is at best ankle-high. It’s shallow, and it constantly flops between making fun of gossip and a perpetuator of it.
    • 76 Metascore
    • 62 Critic Score
    Splendor
    The core of Splendor is a smart, accessible strategy experience, and you get a taste of that from the mobile game. But more than anything, Splendor just whetted my appetite for playing it with actual cards and tokens, which even it seems to acknowledge is the game’s ideal form.
    • 87 Metascore
    • 65 Critic Score
    Batman: Arkham Knight
    Arkham Knight is distressingly inorganic. Continuing the predictable trend the franchise, the game learns the wrong lessons from its predecessors.
    • 72 Metascore
    • 72 Critic Score
    Homesick
    Homesick isn’t a perfect game, but it succeeds in fostering a sense of curiosity that will carry you to the end, and its slow drip of sadness and wonder can be intoxicating.
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