This playful space is engaging and sequesters some neat solutions but we wish Maquette thought more outside the box and followed its own fun. [Issue#187, p.86]

Sadly, things get rather grindy towards the end, and Anodyne 2’s refusal to be clear about anything can make finding the last few items you need harder than it should be. Nonetheless, this is an enjoyable trip unlike any other. If you’re looking for something that differentiates itself from the ocean of grim shooters and angsty apocalypses, you won’t be disappointed with this. [Issue#187, p.81]

With new online modes, capable and fun split-screen, and one truly great fictional racetrack (Rusty Ravine), it’s only really let down by its slight low-budget feel and sense of déjà vu. But being enjoyable to play is surely the whole point of a videogame, and this is very enjoyable indeed. [Issue#187, p.81]

With such assured motion, incident-packed races and gorgeous stadium track visuals this should be an easy recommendation, especially since it’s a deluxe version of an already-polished series. But the harsh handling model and extreme sense of déjà vu suck out a lot of the fun. [Issue#187, p.85]

Besides spider death, each area has multiple objectives. Some of these force you doing a little bit of thinking, others simply ask you to destroy a set number of a certain object. Levels start out small, their routes unfurling as you reach spider-killing milestones. Progression is satisfying, though once you become used to the game’s tricks it wears a little thin. Still, if you want to “kill it with fire” and a whole lot more, it certainly lives up to its promise. [Issue#187, p.85]

Despite the pratfalls, it’s fun to swing into action here. [Issue#187, p.85]

Shallow, but also attractive and a lot of fun. Take Destruction AllStars for a spin, and you’re guaranteed a good time whenever you slip into the driving seat. [Issue#186, p.91]

After a handful of runs you may feel as if you’ve seen everything. The combat system still makes this worth a try if you’re itching for more roguelikes. [Issue#186, p.82]

Levels are served at random, so you’re not forcing yourself to do the exact same thing over and over again, but we ran into a lot of repeats. There’s something to love here, but it’s all incredibly basic, and perhaps a bit too fiddly to quite deliver with how the controls are translated to an analogue stick. [Issue#186, p.85]

Freddy’s first outing is a jump scare legend and a fantastic case study of pure, simple design. It’s too bad later outings simply don’t play well on a controller. [Issue#185, p.89]

Most of the issues have been addressed, making for a much more palatable bike sim. It’s still lacking spectacle and charm, but the quality’s much higher. [Issue#185, p.88]

The step-up in fluidity afforded by PS5 makes this feel like a premium offering, but finicky handling, dull Playground mode, and sparse new content hamper the fun. [Issue#185, p.86]

Mixing up your items is still the name of the game, though. While you level up in fights, a lot of your sense of progression comes from creating more powerful items (and finding higher-quality ingredients to do so). Holing up in your atelier, mixing the perfect items for quests, is still one of the most satisfying crafting systems around. You frequently return to your home to store materials, encountering warm little character events. A degree of automation makes mixing easy to get into, but customisation has evolved to the point where you can’t help but think up alterations to make, for instance, your bombs more powerful. There’s a strong connection to your items and equipment. [Issue#185, p.82]

The idea of solving puzzles with detachable limbs is interesting, but the execution is a bit simple. Since you can’t take a single step without having to solve another puzzle, the satisfaction of overcoming them is pretty short-lived, too. However, Helheim Hassle offers some excellent, goofy dialogue and characters, so solving puzzles can feel like something you have to get over with in order to get to those bits. The game lives off its cartoony, over-the top art style and absurd situations. Its humour is its biggest strength – dry and self-deprecating, sometimes reminiscent of adventure classics like Monkey Island. While the puzzles are a bit of a letdown, on the whole you get an entertaining game with a few great laughs. [Issue@#185, p.82]

Technically there’s little wrong with the game. It’s visually solid, smooth to play, and the 3D models do a decent job of replicating the style of an 8-bit side-scrolling shooter. Yet it feels anodyne. The magic sauce that made us shove ten-pence pieces into arcade machines is missing. [Issue@#185, p.82]

Ultimate Fishing Simulator rewards patience and skill like any good sim, and there’s something satisfying about picking your own fishing spot, casting a line you’ve prepared yourself, and pulling in a big one after a fight. Progression may prove to be too slow for some, but for fishing fans, this might just be a kipper app. [Issue@#185, p.87]

Roguelike games can sometimes feel very generic, and we’ve seen a lot of them in recent years, but the stylish pixel look combined with a subtle but effective soundtrack helps Colt Canyon stand out from the crowd, and with levels randomly generating each time you play, no landscape will ever be the same as the previous one. This offers a fantastic challenge (albeit sometimes it can be a little too tough) but you’ll keep coming back for more. [Issue@#185, p.87]

While the occasional, inexplicable slowdown is forgivable, what really holds the game back is the checkpointing. It sometimes feels downright unfair as, due to the slowly-slowly nature of play, you can lose ten minutes of progress that’s a real pain to retread. It’s enjoyable enough to keep you coming back, but prepare for some pain in among the pleasure. [Issue@#185, p.87]

It’s fun in bursts of 20-30 minutes or so, but this is the sort of thing you play in between sessions of games you enjoy more. Worms deserves more love. [Issue#184, p.97]

Modern Warfare’s a tough act to follow, and Cold War struggles to keep up. It’s still enjoyable though, and with many updates to come, it’s just getting started. [Issue#184, p.95]

A collection of Space Invaders varients with diminishing returns. Come for Extreme, hang around for Gigamex SE, leave when Arkanoid Vs. rears its ugly head. [Issue#184, p.87]

While FIFA 21 is as good a showcase for the potential of the DualSense as we’ve seen so far, the underlying issues with this entry remain. [Issue#184, p.88]

The five-to-six-hours-long single-player mode is certainly challenging, with some very well-designed boss fights, but the main maze-like levels feel basic and dreary. It’s a slog. Ponpu’s clearly best suited to local party play, but… well, it would be a pretty strange party if you got this one out. [Issue#184, p.89]

When The Past Was Around is an endearing game that is a celebration of two people’s shared love of music. It teeters on being sappy, but its dreamy, abstract nature brings it back from the brink. It’s an endearing pocket-sized tale and a wonderful gem from the Indonesian indie game scene. [Issue#184, p.86]

Sam is implied to be neurodivergent, and is forced to pick between masking his differences for a happy ‘normal’ life or living authentically but miserably in a forced existence. Twin Mirror is bleak, often flawed and far from Dontnod’s best work – case closed. [Issue#184, p.91]

If you liked the look of Dark Souls but bounced off the difficulty, Chronos offers a solid (if cheaper), more user-friendly, yet still demanding alternative. [Issue#184, p.90]

A hugely ambitious, immersive RPG that too often works against itself. Perhaps worth playing – just not at full price and not on PS4 without further patches. [Issue#184, p.82]

Magical in conception but uneven in execution, it overcomes the slowest of starts to become one of the most imaginative platformers in ages. [Issue#183, p.88]

Immortals has heart and when it comes together it can soar. But those wings are waxy and the sun is hot – tinkering is needed before it properly takes flight. [Issue#183, p.60]

Mechanically simple and sometimes a bit repetitive, Yu and Kay’s relationship feels original and genuine, and their journey full of chill vibes. [Issue#183, p.87]

Repetitive, Godfall isn’t the Destiny-withswords we’d hoped for. But there’s fun to be had from its core combat, Dreamstones mode, and next-gen visual wallop. [Issue#183, p.76]

Though the game is brief, you’ll return to it for a go at beating your high scores, or to take on a pal in the competitive mode featuring the Prince’s colourful cousins. It’s a truly bizarre game through and through, but all the better for that. [Issue#183, p.67]

Subtle uses of the new console abound, with the DualSense’s triggers ‘hardening’ if a power is still in cooldown.2 Running at 60fps in 4K, Chaosbane manages to feel fresher than it should. Even when the screen fills with enemies, zinging notifications, and colourful projectiles, it never misses a frame. All that said, Chaosbane remains the same generic game behind the PS5-ness. [Issue#183, p.67]

This isn’t a game for hunting high scores or even for getting your hands on new lore (you get about 20 minutes of new, low-stakes cutscenes), but it is a good fit for lovers of Kingdom Hearts music or young players who are usually put off other rhythm games by the high difficulty. [Issue#183, p.81]

The puzzles and platforming challenges never really require you to get creative. The result, sadly, is an idea that’s more interesting on paper than in practice. [Issue#183, p.65]

Lair Of The Clockwork God is sometimes very, very clever, although this cleverness leads to rare instances of self-indulgence that obscure the way forward, which is thankfully the exception rather than the rule. When the disparate parts fit together, and you overlook the ropy platform controls, there’s an unusual game in here with personality. It’s a jolly (and occasionally filthy) adventure, the likes of which we’d love to see more of. [Issue#183, p.65]

Wacky character models and environments can only distract you from the repetitive action for so long. Be prepared to submit. [Issue#181, p.97]

It loses a point because of its Virtual Currency (VC) obsession, a recurringissue in 2K games. It’s supposed to ensure that all your actions in every mode – career, MyTeam, even watching 2KTV – secure rewards, but they’re often someagre that the entire game comes across as a grind, aimed at funnelling you towards the PS Store to part with real cash.Please don’t do that. The only way games like this and FIFA will change in the next gen is if their players make a sustainedeffort not to exchange any of their hard-earned dosh for digital trading cards. Otherwise this is solid, but on that front 2K (and EA, and the rest) must do better. [Issue#181, p.94]

You’re never up against more than one opponent, though (if you have an opponent at all), meaning you’ll usually have an empty road ahead of you whether you’re ahead or behind, which can kill the sense of competition. This burning rubber cries out tobe a group activity, if you catch our– ahem – drift. Perhaps online play would transform the experience into a thrill, but we’d need to actually find somebody playing to check. As it stands, it’s stuck in first gear. [Issue#181, p.94]

On paper the game has it all; in reality, Necromunda is clunky, plagued by bugs, including hard crashes and desynced audio, and an old-fashioned approach to the genre. [Issue#181, p.94]

Acquiring the lanthorn provides more of a twist as this enchanted instrument can move around more objects, such as a snakey platform beneath your feet or blocks triple your size. It’s this kind of magic that adds to this enchanting little world very much inspired by a bedtime storybook. And if all that doesn’t tap into your inner child, a section featuring slides certainly will. [Issue#181, p.86]

Reasons for playing, then? Nostalgia. Appeasing all those ‘best RPGs you’ve never played’ listicles. And as a reminder of why character– new ideas and memorable places – is so important to a grand adventure. [Issue#181, p.86]

What you’re left with is a game that delivers a greatlooking futuristic London, and not much of anything else. It suffered a hefty delay, and the series transitioned from Ubisoft Montreal to Ubisoft Toronto. Something has been lost here, and we can’t help but feel that the commitment to making any character playable is the core issue. That’s been made possible, but just because Ubisoft could, that didn’t mean the developer should have. [Issue#182, p.147]

While this bug-infested horror doesn’t quite inspire us to grab the fly swat, we can’t recommend this in its current state. However, its few bright spots draw us like a moth to a flame. [Issue#182, p.152]

The technical improvements are so minor, especially on the base PS4, you honestly might as well just play the PS3 version from ten years ago. Both are lots of fun. [Issue#182, p.138]

The Dark Pictures Anthology has yet to truly impress but, for the price, there are worse fates. However, reader beware, you’re in for more than your fair share of screaming puritan jump scares. [Issue#182, p.158]

A consummate package of shooting, slide tackling and swearing, but with some familiar current-gen frustrations. The saving grace could be FIFA 21’s free PS5 upgrade. [Issue#182, p.137]

With three new enemy types and one (very challenging) boss in the mix, as well as three new perks to earn by completing the optional Slayer Gater challenges, it’s a familiar yet distinct experience. But it’s still best to play through Doom Eternal before trying this. [Issue#182, p.155]

While its intriguing concept is slightly let down by simple puzzles and empty maps, Carto still offers a weekend’s worth of cosy fun for players of all ages. [Issue#182, p.154]

Overall, this is a brief game, though you can replay missions to max out your skills or find secret statues. That these unlock old-school modifiers like Big Head mode at least shows the game’s got a sense of humour. [Issue#182, p.136]

The bottom line is simple: while TT Isle Of Man: Ride On The Edge demonstrates how hardcore, unforgiving motorbike sims can be amazing on PS4, Ride 4 is simply dull. Authentic and capable, certainly, but dull nonetheless. [Issue#182, p.136]

A range of mission objectives keeps things interesting, and there are nice moments when the action is used to tell the story.2 It’s fairly simple (it’s based on a kids’ cartoon), but this twist on the genre is easy to understand, and fun to stick with until the credits. [Issue#182, p.160]

Regarding this catastrophic failure of infrastructure, a wearying, cynical malaise of ‘Eh, what can you do about it?’ pervades Rania’s early forays into the city and proves just a little too real for us. The game’s own answer to this question is ‘carry out individual acts of kindness’, as with each one Rania makes Nivalis a slightly less miserable place for at least one person she encounters on her rounds – and sometimes that’s enough. [Issue#182, p.156]

If you love racing sims and the WRC, you’ll get a lot out of this; but for the second year running, if you can only pick one rally game, Dirt 2.0 is the better choice. [Issue#180, p.75]

A patchy, unbalanced, and shallow racer with obvious technical issues on PS4. Chasing lap times is fun thanks to the superb pad control and track list, but everything else is disappointing. [Issue#180, p.78]

Despite tweaks to the formula and some interesting ideas, Mortal Shell is tired and familiar while also much less than its inspiration. This Dark-Souls-like should stay dead. [Issue#180, p.77]

From side-scrolling platforming to something that reminds us of Super Monkey Ball just a wee bit, there’s a good variety of levels in each world. While we say there are plenty of hidden collectibles to find, Lucky’s game doesn’t quite nail the sense of exploration and discovery in the way its mauve forbear does; you probably won’t need the finest-toothed comb to see all there is to see. But just because it doesn’t resonate in exactly the same way Spyro did for us all those years ago, it doesn’t mean that cute-as-a-button Lucky won’t be some small person’s favourite, or that the game won’t get them all nostalgic years down the line. [Issue#180, p.80]

But losing it all still stings, not least since some runs stack the odds unfairly. You might wander into a room where two shooters are entirely shrouded by the inky shadows, where a wall obstructs your view of an advancing threat, or an enemy-stunning lantern stubbornly refuses to light. When the RNG is against you, too, West Of Dead feels someway south of a good time. [Issue#180, p.76]

With patience you can master the fiddly battle menus, and the wealth of content2 banishes any frustrations to a deep, dark dungeon. Outside of combat menus are a joy to navigate on R2. The sense of immersion helps break down the barriers of the game’s PC origins, as whether it’s cooking campfire meals or using a character’s lore knowledge to seek new narrative pathways, there are roles here you’ll enjoy playing for weeks. [Issue#180, p.76]

Long-time players will be disappointed at Joe Rogan’s absence from the commentary booth this time around, even if Daniel Cormier and John Anik’s excitable tones are perfectly serviceable. And that’s a phrase which perfectly sums up UFC 4 in general. It won’t surprise MMA fans, but it should delight. [Issue#180, p.72]

Ultimately, it’s more Superhot – stylish, thrilling, reliably weird – and that’s no bad thing. But it’s the first game in the series that doesn’t feel like a revelation. [Issue#179, p.77]

We’re in love with the unique control system, but the longterm appeal of the launch version is questionable. If/when more features arrive to fill in the gaps, it’ll be an essential purchase. [Issue#179, p.74]

Sker Hotel is a beautifully realised survival horror location to get lost in for an afternoon– it’s just a shame about the monstrous staff. [Issue#179, p.81]

Mission objectives are simplistic and the multiple sandbox maps are small by modern standards, but creative abuse of the game’s destructive weapons never fails to raise a smile. A welcome reinvasion. [Issue#179, p.70]

Neon Abyss really shines when you you have unlocked enough upgrades to experience the carnage in full.2 Getting to that point, however, can feel like a long, hard slog. If you’re up for the challenge, persevere and this will offer you a dense, addictive experience that you’ll keep coming back to. [Issue#179, p.80]

At various points you need to choose how you feel about the other characters using the star-chart-like Senses Sympathy System, rating them on a scale. This is the only way you make decisions and branch the narrative. It’s a nice idea that works for the most part, but also feels a little clunky. For a visual novel that released in Japanese in 2012 it still holds up well, and it’s a mature story that relies on sci-fi disaster thrills more than romance, which leaves it on top. [Issue#179, p.80]

The turn-based combat is Gust at its best, and watching skills evolving into stronger versions, rather than characters learning new moves and making old ones irrelevant, is a nice way to show the characters growing in strength that feels right out of the anime. Mechanically it’s punching above its weight and is more magically charged than some bigger JRPGs, but it’s let down outside combat by stiff animations that feel a generation old, actions rarely feeling like they match up in conversations. Plus, multiple tedious side-quests to level up your guild bottleneck story progression. We love the characters and combat, and it feels like a beloved PS3 game we missed out on, but in 2020 the magic wanes. [Issue#179, p.76]

Sadly, many monsters end up feeling repetitive, and the environments are bland. You only have three true party members too (characters from the first game become usable, but to all intents and purposes aren’t an actual presence in your squad). As enthralling as the horrors in La Choara may be, it can be a slog to reach credits even when the game’s only 17 hours or so long. [Issue#179, p.76]

There’s a lot to enjoy here if you need a Monkey Ball itch scratched, but Rock Of Ages 3 is a mixed, scrappy ball of ideas that never quite lands. [Issue#179, p.76]

The level of control this system gives is compelling, and creatively arranging dialogue fragments is rewarding. The need to find the ‘right words’ creates an interesting tension throughout – unless you’re a people pleaser in real life, in which case this may hit a little too close to your everyday. Its short length and focussed story allows for an engaging variety of dialogue options and social scenarios, but it does also feel more like a proof-of-concept in the end. But it’s less than a tenner, which feels like a reasonable price, and we’re going to enjoy seeing how Insatiable Cycle fleshes out this dialogue system in future as what we’ve overheard here presents a tantalising snippet of conversation. [Issue#179, p.72]

Relicta, in a lot of places, seems to be a lot more adult-oriented than many other puzzle games. If you can live with the repetition and you really loved Portal, you should find something here to keep you engaged. [Issue@179, p.72]

A refreshing dip. Things don’t look as impressive under this virtual sea as they do in the video clips, but there’s still plenty to keep you gently bobbing along. [Issue#178, p.83]

Neither a remarkable FPS nor RTS, it’s nevertheless fun to zoom around in multiplayer with your gunships blasting away. And sometimes, that’s okay. But it’s never really more than okay. [Issue#178, p.78]

Although the gameplay and character models feel refreshed (Patrick’s limbs are delightfully floppy), the level design pales when compared to newer 3D platformers. Fully remade,2 including a remastered soundtrack, Battle For Bikini Bottom proves to be fun on a technical level, but the barren worlds, many NPCs you cannot interact with, and vexing objectives (the rolling ball in Mermaid Man’s lair, anybody?) make it fun and frustrating in equal measure. Fans won’t want to leave this one at the bottom of the sea. [Issue#178, p.82]

As well as transforming abilities, you unlock room-affecting powers as you progress, and these are a lot more iffy– indications of where to use some are irritatingly lacking. The lack of map markings for currently impassable objects or collected heart pieces also feels a bit annoying.2 Still, it’s a lot of fun throughout its short duration, and the cartoony surface is backed up by plenty of heart. It’s not the best game of its type, but it’s an example worth playing. [Issue#178, p.76]

What still comes across is a blistering sense of speed. Sure, it’s missing much in the way of the interesting track gravity you might expect from a zero-grav racer, but tight corridors and hairpin turns can still delight as you shove your pod nearly on its side. Two-player racing is also a welcome holdover. Racer was once very impressive and it still runs well enough, but it all feels basic now. It does raise the question – why haven’t we had a new version that’s as exciting as this was in its day in 21 years ago? [Issue#178, p.76]

A lovingly remastered, nostalgic treat for fans, with all the cars and guns given extra polish. A robust GTA clone that should please anyone else who doesn’t mind a bit of gleefully juvenile silliness. [Issue#177, p.154]

Offering many memorable moments and a well-realised if empty world, this remaster is dragged down by some technical flaws . The Definitive Edition? Not quite. [Issue#177, p.147]

Boasting bitcrushed soundbites and bitpop beats by Defense Mechanism, it sounds the part. As for looks, the sprite work has the bobble-headed charm of chibi art styles. The vehicle aesthetic is more realistic but they still look like they’re straight out of the doll’s house. The art direction feels far more confident rendering nuts and bolts rather than our protagonists, but the pixel art is nothing to sniff at. There is a clear understanding that bosses are sold not only through their challenge but also via visual spectacle. They’re still diminutive but not to be trifled with, bringing the pain with screen-sweeping attacks in standout arenas. The Beljantaur Kingdom can take us on again any time. [Issue#177, p.156]

This adventure balances its challenge and gameplay variety well against its short length. Ultimately it’s not as layered as indie darling Hollow Knight but it’s a worthwhile play while you wait for Silksong.[Issue#177, p.156]

If making your own vehicles holds appeals, especially if you have some engineering knowledge, you’ll have a lot of fun with this. Just be aware that the world you’ll explore is little more than a glorified testing ground. [Issue#177, p.144]

Sakura Wars may lack depth in combat but that’s ultimately secondary to its storytelling and lovable characters, which it delivers with a big dose of anime heart. [Issue#176, p.75]

Predator: Hunting Grounds’ fun procession of film references and solid gameplay loop distract from the many flaws that hold it back from being an essential online shooter. [Issue#176, p.71]

A pitch-perfect party game for you and those who’ve come home to roost after flying the nest (or those who never actually left). Not as frantic as Overcooked but still a truck-full of fun. [Issue#176, p.76]

An evolutionary update with unconvincing AI makes for a tough sell, but updates are scheduled. The improvements create genuine moments of greatness. [Issue#176, p.80]

Overall the writing, though at times clumsily reference-heavy, generally feels emotionally sincere, and playing through character conflict with this charismatic cast2 gives us (an extra) life. If you’re burned out on mainstream VNs, this is a perfect palate cleanser. So, got any quarters? [Issue#176, p.78]

When you finish a level, you get the option to replay what you did in one fluid motion, which ends up a little stiff thanks to the gridmovement and somewhat limited moveset. But you quickly get the hang of how to use each move, and soon you’re reacting quickly to each challenge rather than taking a while to figure out your next move. When you hit that rhythm, John Wick Hex sings, but it doesn’t delight as much as the movies. [Issue#176, p.78]

Back in 1995, Trials was unparalleled in its adaptability, even when it came to its story– you choose a party of three out of six possible characters to take on a journey to restore the sacred Mana tree and hopefully stop wars breaking out between different factions. Some parts of your characters’ backstories will overlap, leading to shared experiences. However, despite new additional lines, interactions between characters can feel random, and the dialogue doesn’t hold up for a modern game. The English voiceover, too, strongly varies in quality. A win for fans, Trials Of Mana nonetheless proves not every game ages well. [Issue#176, p.74]

It’s rarely original, occasionally frustrating, and often clumsy in execution, but when it clicks there’s a meditative vein to Stranded Deep’s grind that will make time spent indoors sunnier. [Issue#176, p.74]

What really makes the game is Map Editor mode, where you can create your own maps and share them online. This is much more worth your time than the main mode. Many of the creations already available show great inventiveness with limited assets – things like cross-time football games or ‘Little Yharnam’, a Bloodborne-themed map. Hidden Through Time is basic, but at a low price (£6.49), it’s worth fooling around with if you’re still fond of Wally. [Issue#174, p.92]

Fun in short spurts, patchy in quality, this is a club not everyone will want to get into, even if they have the password. [Issue#174, p.92]

Three-quarters of the way through, the experience becomes much more enjoyable, as you get a new mode of transport2 that expands and speeds up your exploration. This doesn’t last long enough, though, and the game ends as it begins; on a slow, confusing note. [Issue#174, p.86]

Given its focus on just one thing, Overpass doesn’t feel particularly realistic or weighty, and you can certainly get more excitement from conquering GTA V’s Mount Chiliad. Still, it does what it does without fuss, faffing, or frills, so take it or leave it. We’d probably leave it. [Issue#174, p.86]

Setting you up with key scenarios from across this period of Chinese history, there’s plenty to play through. The only problem is that with the zoomed-out approach to the map, the detail has become more passive. Unlike in the last game there’s no direct control of battles, no debate system, and no smaller-objective story mode. It’s an interesting evolution, though one that leaves you bored on the throne more often than not. [Issue#174, p.86]

Transposes the turn-based shooter into a futuristic setting competently, but ultimately is far from essential. For genre completists only. [Issue#174, p.93]

While PS VR ought to be a natural medium for Space Channel 5, it’s hard to see Ulala as more than a nostalgic opening act for the rest of the competition. [Issue#174, p.87]

The improved handling makes for a much more playable game and career mode is satisfying and slick. It’s a little stretched feeling and overly-familiar, but still a class act. [Issue#174, p.82]

Fans need to brace for some disappointment, but that shouldn’t distract from a game that delivers a modern and tonally on-point reworking of Resident Evil 3. [Issue#175, p.73]