While it manages to both refine and add to the franchise's formula with enjoyable co-op, missions that encourage experimentation, and a few accessible RPG mechanics, we simply can't guarantee that your experience won't be plagued by problems both big and small.

Decent presentation and a comical plot help to balance out boring gameplay and a disappointing soundtrack, culminating in a release that neither looks good nor bad on the dancefloor.

Tumbleseed is a very unique title to say the least. The controls require an indescribable amount of patience to get used to and the difficulty will make you want to bang your head against a wall. However, if you are willing to battle your way past these issues, you will find a pleasantly presented rogue-like unlike anything else.

The controls can seem slow at first and it fails to address many of the genre's major pitfalls, but if you're desperate for a kart racer on your PS4, then this sunny side up outing should tide you over until something better comes along. Just remember to slap on the sunscreen before taking to the track.

A pleasant visual style and an interesting premise don't make up for this dull and disappointing gameplay.

Despite its impressive art direction and intense sense of style, Killzone struggled as a PlayStation 2 title. On PS3 its issues are accentuated, with shoddy gunplay and repetitive environments amongst its most notable flaws.

Fun for a few bouts now and then, this is a brawler that doesn't quite do the original work justice - even if its nicely crafted story mode will keep fans entertained for at least a few hours.

This is not a bad game, it’s just a boring one – and we never thought that we’d say that about a release that sees you chasing a tiger on a motorcycle.

Mark McMorris Infinite Air gets the fundamentals roughly right and has quite a bit of customisation, but that's about all there is to it. It's a blank, newly laid sheet of snow – fresh and clean, but nothing exciting comes of it.

The always-online multiplayer aspect comes with the usual latency issues: you’ll be chasing someone and land an attack but the other person has already run past you, meaning your attack doesn’t hit. We also ended up shutting doors on ourselves rather than behind us due to this issue — it's incredibly frustrating and can be the difference between a win and a loss. Combined with the occasional visual bugs, precise positioning for interactions, clunky user interface, long lobby wait times, and lack of content, this leaves The Texas Chain Saw Massacre on the floor bleeding out.

Landing itself somewhere between a twin-stick shooter and a rhythm game, Soundfall feels like it's not really doing one or other of these particularly successfully. Saved by an incredible soundtrack, Soundfall has the potential to be a really incredible game with an exciting concept, but is let down by repetitive gameplay and a weak story.

With such stellar source material, it’s a real shame that The Seven Deadly Sins: Knights of Britannia is so disappointing. What could have been an exciting, funny, and rich game has turned out to be a dull experience, offering nothing to players but repetition with little challenge.

Destiny 2: Curse of Osiris is ultimately more Destiny 2 for those who want it, and that would be fine if it wasn't stuffed with so much squandered potential. For its asking price, there's no reason not to expect more from this first expansion. The story missions range from okay to insultingly dull, and the one truly interesting concept that Bungie introduces -- the Infinite Forest -- ends up being little more than a tedious shooting gallery. The most frustrating part of all this is that the developer has been here before, and it still insists on repeating the same mistakes all over again.

When you're dashing and slashing with capable allies, Warframe is decent game – but there's still a lot of work that needs to be done before it can be considered a good one. The user interface isn't controller friendly, you're given little to no direction, and the title's free-to-play model hinders its overall design. Until these issues are rectified, we suggest waiting in the shadows for the release to finally emerge from its beta state.

We fail to see how The Division 2: Warlords of New York is supposed to rejuvenate the looter shooter's playerbase. New York might be so much more interesting to explore while the missions themselves are smartly designed, but what you're actually doing there remains very much the same. Coupled with a copious amount of bugs and glitches, this is an expansion the vast majority of players can very safely skip.

The only real accolade you can award this run-of-the-mill release is that it’s inoffensive, but even then it’s almost offensively inoffensive – if you get what we mean. An unwieldy upgrade system, which sees you augmenting body parts to each of the four heroes, adds a bit of character to proceedings – but it’s somewhat cumbersome and confusing. You may eke some fun out of the ostentatious action playing with buddies both online and offline, but there are better games to backdrop your banter. The panda’s pretty rad, we suppose.

Above and Beyond is a rather disappointing end to a rather lacklustre second season for Minecraft: Story Mode. The season’s plot is forgettable, the pacing is slow throughout, and the same environments are used repeatedly. Although the final boss fight is enjoyable, the ending is surprisingly anticlimactic. Unless you were a huge fan of Jesse’s first outing, you won’t be missing much by skipping this season.

A questionable camera sours gameplay and many of the mechanics suffer a clunky and unresponsive feel as a result.

Man of Medan kicks The Dark Pictures Anthology off with a whimper rather than a bang. The format has a lot of potential, but this was undoubtedly the wrong story to showcase it. The narrative is slight and rarely gets out of first gear, the characters are annoying, the scares limp, and the dialogue unnatural. There's constant technical hiccups. In fact, the scariest thing about Man of Medan is how it ever went gold in the state that it's in.

Sacra Terra: Kiss of Death is a puzzler that has a healthy respect for your time.

AEW: Fight Forever is an incredibly faithful tribute to 90’s wrestling gaming, and it’s clear that a lot of love has gone in to ensure the presentation, gameplay, and atmosphere all harken back to that time with unyielding accuracy. But the world has moved on, and more importantly, wrestling games have moved on, and the dogged determination to honour what came before has resulted in a title that will ultimately prove incredibly divisive. Most egregiously the game feels decidedly budget while demanding a decidedly not-budget price tag, and while the product may improve with updates and time, in its current state, it’s hard to recommend Fight Forever to anyone but the most hardcore of AEW’s fans.

Infinifactory certainly has the building blocks of something great, as it's uber-satisfying piecing together your own production line and watching it all work as intended. Sadly, while there's real satisfaction to be gleaned from craftily concocting your own creative solutions, the cumbersome controls and occasionally unintelligible explanations mean that this game has ultimately failed to pass our rigorous quality assurance test.

For a game being sold on its eclectic cast of characters, Random Heroes: Gold Edition really doesn’t do anywhere near enough with its heroes. This is a 16-bit style side-scrolling shooter where you take control of, well, pretty much anyone. There’s a cyborg, a clown, a truck driver, a man in a suit… You pretty much get the idea.

The survival mechanics feel remarkably similar to Breath of the Wild, with item management and weapon degradation taking centre stage. These are reasonably well implemented, but are at odds with the otherwise minimal nature of the game. The devs would have perhaps been wise to focus more on polishing up the boss battles, as these are the true stars of the show.

The main map is small and relatively basic, but the combat can at least be satisfying once you get the big guns. The developer does just enough to vary up the rules in modes such as Combo Breaker, where you’re tasked with keeping your multiplier alive. But this is a shallow, shallow experience overall that will only hold your attention for an hour or two at most.

Touhou Genso Wanderer can feel like a lot to take on at times. As beginners to the series, a lot of time was spent feeling as if we were on the back foot and had missed chunks of tutorial content. The game's fun enough to begin with but becomes frustrating very quickly, and ultimately doesn't offer enough excitement to sustain any interest that it may have piqued early on.

The Surge had potential, but its excellent combat systems are baked into a game that can’t do them justice. The repetitive and drab environments are a huge hindrance, and when combined with a confusing network of corridors, hallways, and ledges, it’s easy to become frustrated, misled, and lost. You may find some fun experimenting with your attack options and the smooth framerate on the PS4 Pro does help to make that a better experience, but expecting anything more than that will only set yourself up for disappointment.

Primal Carnage: Extinction feels like a great concept which has just not had enough "shine" put into the end product. Basic menus and average production values could be forgiven if the gameplay was killer, but dinosaurs deserve to be more badass and exciting than this. So while there is some dino fun to be had here, this is a game that will likely be left on the virtual shelf and left to turn extinct.

Payday 3 has its enjoyable moments, bringing its well-known cooperative heists into a new game engine. However its lack of content, outdated gunplay, underwhelming AI, and unfinished cutscenes leave a lot to be desired. If you're a series fan looking for a substantial step-up in this sequel then this isn’t it. However, if you're after a multiplayer title to clown around in for a few hours, this will suffice.

Directive 8020 had some serious potential, but it fails to conjure up anything of any real substance. There are little sparks of enjoyment in there, and I liked the Cassiopeia’s gradual descent into a gloopy, fleshy hell. But a dull setting, uninteresting characters, and overly simplistic gameplay segments left me fairly uninterested in seeing how else I could play out this branching narrative experience.

Small in both scope and budget, Slender: The Arrival is little more than a rest stop on the way to something bigger and better.

Best Month Ever! is a short, enjoyable narrative that perhaps suffers from high ambitions that don't quite pay off. Glitches in the game can really take you out of what would otherwise be a fluid experience.

The dialogue is dull, the art style doesn't look good at all, and the game just doesn't have much appeal. It's certainly not bad, it's just so bang average that you'll have seen it all before.

It has its moments of fun, but more often than not is a frustrating time-sink made up of trial-and-error mechanics with little sense of reward.

Overall, it's a chilled out game with personality and charm, but there's not much more to it than that. While you may enjoy exploring the town and meeting its residents, there isn't enough substance here to keep things interesting.

Mugen Souls Z is, on the surface, a shallow but agreeable JRPG that hides a deeper, heavier set of systems for genre fans that care to search for them.

Ultimately, Mulaka succeeds in the story it wishes to tell, but it falls short in two of its primary gameplay tenets: action and adventure. Controls are fiddly, environments a little sparse, and combat inadequate. It excels in using the video game format to widen knowledge of a culture that admittedly many around the world will know very little about, but as a game to interact with, its deficiencies outshine its ideas and make it somewhat forgettable.

Die-hard fans yearning for some Pro Skater action will find that, despite all of its problems, there's still some enjoyment to be had here – even if it should have been so much more.

Although Dr Fetus’ Mean Meat Machine is presented gorgeously and provides an interesting twist on the genre, it lacks the meaty content required to keep players engaged. The steep difficulty results in frustratingly repetitive level restarts, and with all stages locked with no hints, tips, or level skips the majority of players won’t see it past world one. There’s definitely more enjoyable ways to beat your meat elsewhere.

And yet despite its inclusion of uplifting yet ultimately vapid inspirational statements, the whole thing comes across as cynical to us. The developer’s dreamed up an agreeable yet largely mediocre Trials clone and stroked the egos of a bunch of influencers in order to give it a cast of characters that a terrifying number of children will be attracted to. On the one hand, you’ve got to respect the hustle of the studio, finding a way to make its otherwise unremarkable title stand out from the crowd. On the other hand, Holly H has to be unlocked, and we’re not sure we’ll ever forgive for the company for that.

Dawn of Fear is not what you would typically consider a good video game and it most definitely does not perform like one. However, when it works, there hasn’t been anything else quite like it for the best part of two decades. Dawn of Fear is the best and worst tribute to Resident Evil at the same time, and we can't think anything more intriguing than that.

Thanks to a control scheme that doesn't make sense and sometimes doesn't do what it's supposed to, and appalling AI for both allies and enemy units, Sudden Strike 4 is a ga me that answers all of these questions and a bunch more you were probably afraid to ask.

In addition to the synth-driven city pop soundtrack, the neon punk aesthetic looks really nice in 4K in PSVR2, and while the vibrant colours may lead to headaches, we like the chaotic, almost violent nature of the presentation. But ultimately, we found ourselves tiring of the overly long levels fairly quickly, and so the title lacks that sense of replayability that’s so fundamental to truly great arcade releases.

Elminage Original's classic design certainly offers an alternative to more modern dungeon crawlers, but its inability to explain even the simplest of mechanics make it a difficult game to get into. If you've got fond memories of classic RPG titles, then this offers a reasonable way to revisit that nostalgia. It is, however, a title that can only truly be recommended to a very small niche.

The narrative goes to some nightmarish places, but it ends all too abruptly, and technical issues apply the sleeping cap to an already mixed release.

The Lost Child isn't a game bereft of merit, and we're sure that there's a number of people who'll enjoy the visual novel slash first person dungeon crawler approach taken here. But it's certainly a game with limited appeal - even among the role playing game demographic - thanks to the lifeless battles and cumbrous dungeon design. It's a game that pays more than a passing nod to numerous other RPGs - Pokemon, Persona, and other Shin Megami Tensei titles - but sadly, never approaches the quality of any of them.

James McAvoy, Daisy Ridley, and Willem Dafoe do an absolutely fantastic job at bringing the three main characters to life but even they can’t lift the frustration and tedium of having to repeat the same actions over and over again. Unfortunately, by the time you finally figure out how to change the outcome of the loop, the ending will make you wonder if it was even worth it.

The Inpatient’s strong opening is undone by a rushed finale, and while the various plot permutations add replayability, they come at the cost of a fulfilling narrative. As a PlayStation VR experience, this is a fine-looking spook-'em-up with some neat innovations that help create a tactile world, but the story is far too fragmented and, frankly, flat to do justice to the universe it’s inspired by.

The game has a fairly short runtime (by RPG standards) of around 25-30 hours, but even then it soon begins to outstay its welcome. It’s a shame as the story really is intriguing to begin with, but after fighting your way through lots of tedious dungeons and doing the same attacks over and over again, you’ll find it hard to care about humanity’s fate.

It’s downright frustrating, then, that the title in its present state has so much potential, but asks for gamers to invest their time and money on the basis of what it could be.

The rote hack and slash combat only really hits its stride hours into the campaign, as you begin to unlock additional skills and off-screen party members who fly into battle with special attacks on your command. Infinite Combate does get better as you sink more time into it, but its low points will likely test your patience. In particular, quests with strict time limits can often feel unfair, and grinding out tasks purely to improve your relationship with different characters is a slog.

Thanks to questionable tactics, a tedious and boring structure, bullet spongey enemies, and a narrative that’s completely throwaway, Wolfenstein: Youngblood is far and away the worst entry in the franchise this generation. Some of its inventive combat mechanics remain intact, but they’re completely overshadowed by throwaway side quests that we were tired of five years ago. This is a boring, tedious slog through Nazi-occupied Paris that you can probably skip.

Ultimately, this is a disappointment that lacks the heart required to truly celebrate the cars it has so lovingly recreated.

Warriors Orochi 4 is a disappointingly cheap sequel. Stripped back and basic, it feels like a quick and easy apology aimed at fans who were left disgruntled by the dire Dynasty Warriors 9. There's still enjoyment to be found here, with the series' trademark action holding strong, but poor presentation and unstable performance drag the experience down. Koei Tecmo really needs to get its Warriors games back on track, but until that happens, you're better off nabbing the far superior Warriors Orochi 3 Ultimate.

League of War: VR Arena does exactly what it says on the tin. It provides you with a basic strategy experience that remains fun for a few hours, but as you realise that the game won’t be introducing any sort of innovation or new mechanics to mess around with, repetition sets in fast. Introducing a second player into the mix through arcade mode does shake things up a little, but it’s not enough to mitigate the feeling that what’s on offer here is slim on content and all a little too basic.

Kill la Kill - If certainly looks the part, but once you're past the striking art style and eye-popping visuals, it's only a matter of time until the gameplay falls flat. As a bombastic anime fighter it can hold up for at least a few rounds with friends, but beyond that, this is a lacking release, both in terms of mechanical balance and bang for your buck.

While the story missions are enjoyable and the Strikes are some of the best, there just isn't enough new content here to reinvigorate Bungie's project for more than a few hours at most.

This remains a ground-breaking game, and it's still possible to appreciate the areas where it innovated, but time has not been kind to the title's damp performances and dismal writing.

With lofty ambitions and some great elements, After Us lets itself down in as many ways as it triumphs. Gorgeous art direction and an admirable anti-pollution message aren't enough to make up for tedious combat, performance issues, and open-ended level design that plays things a little too loose. If you're itching for an experience like this, there are better options out there, at the very least until After Us' performance issues are addressed. There's the core of an incredible experience here, but it's just not ready yet.

While the Khaos Reigns expansion does come with a full Kombat Pass 2 (including the guest fighters later down the line), the story is only around two hours long, making this expansion's price – which is almost on par with an entire game – a little questionable. And it doesn’t do anything to change the glaring flaws already present in Mortal Kombat 1 such as the terrible Invasions mode or the overpriced cosmetics.

YIIK: A Postmodern RPG, sadly, never shines as brightly as it does during its opening hours. There's enjoyment to be had here, sure, especially for anyone with love for the '90s – but all of the references to Chrono Trigger and Pogs in the world can't balance out the pleasure-less battle system and overly complicated levelling up mechanics.

You could do a lot better than Fatal Frame: Maiden of Black Water this Halloween season; the PS5 has built up its horror library up just enough for there to be something else worthy of your time. Those cutscenes, though. Very creepy.

There is so much squandered potential in Armikrog it hurts. The voice acting is great, but there's not enough of it; the visuals and animations are superb, but let down by repeated puzzles.

Mato Anomalies is a tough sell; it features some fresh ideas and concepts (which should be applauded) but fails to create a compelling core gameplay loop in the process. With so many other other excellent turn-based titles demanding your attention, it fails to provide a compelling reason to undertake this surreal journey.

Despite its seemingly vanilla exterior, CounterSpy is a remarkably ambitious title. It makes an admirable attempt at creating a new kind of 2D stealth game, but unfortunately the results just aren't particularly compelling. While its presentation is dapper and divine, its gameplay is clunky, and the whole experience gets tiresome very quickly.

Bravo Team’s tactical combat is a good fit for virtual reality, and it’s exciting peeking out of cover in order to take pot shots. But for a title focused squarely on its action, the shooting rarely feels satisfying – even when you’re armed with the excellent PSVR Aim Controller. Though the visuals are never outstanding, we like the way the title takes you on a continuous journey through a war-torn city, but limited variety means the release shows its hand within its first few minutes. And, frankly, not even online co-op will help you to care for the fate of the titular team.

Its approach to open ended gameplay is appreciated and its combat is fun enough for the first ten hours, but the game eventually loses steam and its story is nothing worth shouting about. To make matters worse, technical problems harm the experience to the point where you'll find it hard to care about the characters during what are supposed to be emotional scenes.

Lost on Mars is a decent sci-fi distraction from the main game, but it fails to really introduce any new ideas. The irreverent story is fine but isn't particularly memorable, and the silly humour accompanying the action misses more than it hits. The combat can be fun and frustrating in equal measure, while the various things to do don't exactly inspire. It's perfectly serviceable, but despite being set millions of miles away on our neighbouring planet, it's hard to shake the feeling we've been here before.

For everything The Quarry does right, it has just as many glaring issues or niggling problems to bring it right back down to Earth. Supermassive Games has been trying to better Until Dawn for seven years now, and at this point, it looks like it's never, ever going to happen. The Quarry is just a bit dull, and that's the exact opposite of what these types of titles strive to be.

Stuck with a novelty look and feel that would attract younger players – who won't actually have a chance at many of the questions – this is one for battle hardened quizzers with short attention spans only.

Urban Trial Freestyle may have taken a lot of inspiration from Trials Evolution, but it only emulates the bare minimum. Yes, there is a bike, and, yes, there are obstacles to navigate, but any soul or innovation is left at the starting line. This is a cold, sterile replication of a successful franchise, and a testament to the fact that fun cannot be imitated in such an uninspired way.

There are far better Assassin's Creed games and far better platformers, so this spin-off has nowhere else to go but the gulag.

N.E.R.O. intrigues as an interactive visual novel, but it fails in its attempts to be a game. The puzzles here are laughably easy, and they subsequently get in the way of the storytelling. There are some beautiful cutscenes and an interesting story here, but they're too often impeded by unenjoyable gameplay.

There are certainly enjoyable moments to be found in Zombie Tycoon 2: Brainhov’s Revenge, but they’re buried beneath repetitive gameplay and unnecessarily frustrating mechanics. The multiplayer chaos is just enough to keep you coming back, but things are never quite as well crafted as the charming art direction would lead you to believe.

Even if you’re not familiar with Blacksad’s previous adventures, fans of games like L.A. Noire or any of the Telltale adventures will find something to like about Blacksad: Under the Skin. It’s a real shame, then, that the game is so buggy on release. Numerous technical issues really spoil what would otherwise be a very entertaining whodunit.

A good time loop mechanic is supposed to give you enough variety so that repetition doesn't set in. Unfortunately, this is where Loop8 falls flat. You’ll be going over the same conversations and they’re just not interesting enough to make it worthwhile. It also doesn’t help that there’s only a small variety of enemies, and that the underworld is mostly just the town with a different colour palette. It's hard not to get annoyed when you realise that you’re still not strong enough to take out the next boss, and have no choice but to repeat the last few weeks.

Overall, the title is ridiculously restricted, and while there are different endings encouraging multiple playthroughs, you’ll have seen all that it has to offer in hours. The sprites are chunky and the environments pleasant, and there’s some earworm audio to add to the overall presentation, but you’re unlikely to find yourself dreaming of this once you’ve seen the credits roll a couple of times.

Dynasty Warriors 9 goes open world and the result is a game of extreme ups and downs. For every gloriously huge battle there's a boring stint of traversal across a dreadfully barren map. For every interesting story moment or interaction, there's a horribly ugly graphical glitch. Factor in an unconvincing combat system overhaul, and you've got a Dynasty Warriors title that may disappoint even the most dedicated of fans. There's still some good historical hack and slash fun to be had here, but we expected much more from the return of this flagship series.

A lacklustre effort after last year’s promising start. It attempts to address some of the issues but these end up being unforced turnovers that makes the game actively worse. When you couple this with only one of the major gameplay problems being addressed, you find yourself with a disappointing sequel. This is a series that definitely does not need to be on a yearly cycle, and most people who bought the original last year will find they have already had their fill.

Paper Cut Mansion offers some interesting dimension-hopping gameplay, enjoyable puzzles, and unique cardboard visuals that make it standout from similar titles in the genre. However, it's ultimately let down by its slow pacing and repetition of content.

Megaton Rainfall is an incredible accomplishment, but not one that we particularly liked to play. The sense of scale is outstanding – and it’s even more impressive with PlayStation VR – but the cumbersome combat grates almost as badly as its cringe-inducing storyline. It would appear that even being a literal god isn’t all it’s cracked up to be.

Each character has a unique move set, like Gon’s fishing rod and Razor’s volleyball spikes. There’s genuine variety to the roster too, from the quick and nimble Killua to the tricky Misoka (this author’s personal favourite). But with just 16 characters at launch, the three-on-three gameplay format feels seriously stretched, and you’ll be seeing a lot of repeated faces even during a simple arcade run...There’s not much to the game either. The story mode, which glosses over the events from the anime, basically acts as an extended tutorial, and will take you less than an hour or so to beat. Outside of that you’re left with Time Attack, Combo Trials, and the Heavens Arena, which is basically just a renamed survival mode.

Jump Force can be fun with friends when you're just looking for a quick and easy scrap, but as a celebration of all things Jump, it's a borderline embarrassment. Thanks to a truly egregious art style and comically bad story presentation, this is an accessible and often fun crossover brawler let down by its disappointingly shoddy packaging. Ultimately, it's difficult not to feel as though all of these classic manga and anime properties deserve much better than Jump Force.

Warriors All-Stars is a colourful hack and slash title that can be fun in short bursts thanks to its varied cast of playable characters, but it just has too many problems to be considered a good Warriors game. Frustrating, tedious mission design, a throwaway story, and a wildly unstable framerate make it very difficult to recommend when there are so many better Koei Tecmo titles on the market.

There is a neat little game here, hidden in the shadows, but sadly, it doesn't shine quite brightly enough.

You can see Cyanide Studios had good ideas for Werewolf: The Apocalypse - Earthblood, so it is a shame to see that potential wasted. Tearing through enemies is undeniably satisfying and Earthblood’s stealth mechanics feel rewarding but with poor visuals, a short campaign, and disappointing story, you can’t ignore these pressing flaws. Cyanide has faithfully integrated Werewolf’s lore here – even if that is a little bare – so tabletop series fans will likely enjoy it, but anyone else would best approach with caution.

Don’t let NHL 19's slick menus and new skating animations fool you: the same NHL game you’ve been playing for five years is still here. If you already know the series well, this is unquestionably the best iteration of the title, but it comes with the added caveat that it’s hindered by many of the same problems from years past. The reduced significance of poke check, and smaller changes like new skating animations, definitely help elevate the general presentation of the title – but it could and should be so much better than it is.

Super Dungeon Bros is a strange case. It's a pretty good dungeon crawler, with decent variety in its gameplay and enough of a fun factor in its scrappy multiplayer to keep you interested. However, the rock theme is underplayed; it lends the game some personality, but is largely ignored, leading to a muddled presentation. Some bugs also hold it back, and the online side isn't very healthy right now, but this could still be a fun distraction in couch co-op with a few friends.

Most disappointing is the lack of clown comedy. Their shoes squeak when they walk and there are some jokey lines of dialogue, but no hilarious kills. As a human, sometimes a funny cutscene will play when you die, but that doesn't translate to combat. There’s no clown cars or circus tricks, no killer klown spaceship to fight in. Just rural, small town American levels littered with guns and melee weapons. Without the film’s silliness, there’s little reason to play Killer Klowns from Outer Space: The Game over other popular asymmetric horror titles.

Airoheart's, er, heart is in the right place — and it is an okay Zelda clone overall — but the game's got noticeable flaws. A potential recommendation if you're desperate to play something resembling retro Zelda on PlayStation, but that's about it.

There's no challenge to the mundane requests that you'll find yourself completing, and at times, it feels like an RPG for beginners, going through the motions and ticking off a checklist of what's expected of the genre. Thankfully, the saving grace here is the enjoyable combat, which can help blow off a bit of steam after what is all too often a hard day's work.

Despite the handful of enjoyable hours Rocket Arena has to offer, it's not an investment worth considering. With microtransactions already up and operational alongside a premium price tag, it’s likely to find itself without a player base before too long. Rocket jumping can only take it so far.

With such little visual variety, though, there’s not much to differentiate the various stages – and, as alluded to previously, you’ll spend the vast majority of your time fast-forwarding to key moments anyway. It’s all an acquired taste, which is perhaps best reflected by the minuscule budget invested into the series overall. Still, cycling enthusiasts may find something to enjoy in the unique, tactical gameplay, which is all about picking your moments and pedalling like there’s no tomorrow.

It's a real shame because there's a promising premise here that could've delivered something unique beyond the usual 3D kaiju brawlers. For a human-focused story, it's unfortunate that more time wasn't put into this, and while exploration is passable, the gameplay soon falls into repetition. Unless you're a die-hard fan of Legendary's Monsterverse, it's difficult to recommend this over other Metroidvanias.

Skylar & Plux: Adventure on Clover Island is a sound gameplay experience, but lets itself down in a number of other areas. The humour and dialogue fall incredibly flat and there's really no rapport developed between Skylar and Plux during the game. The game's also very short, and while this isn't a terrible effort by any stretch, it begs the question why you wouldn't just play Ratchet & Clank instead.

Clementine is The Walking Dead, and by showing her transition into womanhood A New Frontier is just about a must for fans. But while it lays the foundations for new regulars in Javi and Kate, the fact is that all of the season’s other story threads come to an abrupt and unsatisfying end in Episode 5: From the Gallows. There have been many good moments over the course of the season, but the finale does little with them, and the journey feels like a waste of time as a consequence.

It’s hard to call Sea of Solitude a bad experience, but it feels very pedestrian at almost every turn. Bland gameplay means you’ll rarely be doing anything too exciting, in turn making the short run time all the more suspect. Beautiful visuals and themes that may resonate with some are minor highlights, although they’re not enough to make up for insipidity.

There is, however, one saving grace: the writing is exceptional. Sam and Max’s bevy of pop culture references and dark jokes are a near constant presence, and most lines hit their mark. The script is sharp and remarkably funny. Even with the frustrations of the game’s technical shortcomings, we couldn’t help but laugh at many of the quips, getting a good hearty chuckle at least a dozen times across the three hour adventure. The characters and the insane world they exist in stand the test of time, and it’s a lone bright spot in an otherwise frustrating endeavour.