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.