Branching storylines, cool combat, and rewarding RPG elements work in tandem to form a memorable adventure, but one that needlessly stumbles and falls over various technical issues. This certainly isn't the true ending that we were hoping for.

The controls are the big downside here, then, because it’s practically impossible to recreate the “feel” of the arcade original on a pad.

Life Is Strange: True Colors had every chance of becoming the series' best game to date, but it's been let down by arguably its most important element: the story. Wonderful character work can only go so far carrying a narrative that just isn't particularly exciting. And while Alex's power crafts one interesting scenario after another, it too isn't enough to offset those dull plot points. With an awful framerate to boot, Life Is Strange: True Colors falls short despite everything it has going for it.

There's a bunch of minor technical problems, and a recurring annoyance in which you're often given your next location at the end of a conversation, meaning you've got to just sit there hovering waiting for them to tell you where to go rather than telling you first and then talking on the way. But at least you've got sweet tunes to listen to as you drive in the form of Cloudpunk's stellar synth soundtrack.

Stranger of Paradise: Final Fantasy Origin thinks that it's Daniel Craig's James Bond but it's actually Austin Powers. There's barely a moment in the game that isn't stretching credulity, be it the absurd writing, bewildering story, or inane characters. There's a host of technical issues, too. But somehow, despite everything, it manages to fail upwards and be a pretty good time. Maybe we've lost the plot but we liked it.

Fun in short doses, it does enough right to warrant a quick look, but even though creating your own weird and wonderful traps is the title's main draw, the gameplay can outstay its welcome when the difficulty level begins to rise.

Mass Effect's gameplay is unashamedly stuck in 2007. It's unpolished, frustrating, and much of it feels unnecessary. Fortunately, the plot and writing are enough to carry the experience. If you've already dipped into either of the series' superior sequels, prepare for a learning curve if you absolutely must explore the franchise's roots.

There's a likeable premise lurking within Haunt the House: Terrortown, but the game is far too obtuse to take advantage of it. Some players may have fun exploring the tiny title, but the developer needs to ensure that its future releases boast better communication and more content, or risk scaring consumers away.

Fans of 3D platformers will likely have a decent time with it, particularly if they enjoyed the original, but there are enough frustrations that hold this game back from being an easy recommendation.

Isonzo is a decent game. Solid in many areas, but never one to show off, the title delivers a good gameplay core, and offers it up at a reasonable price. Performance problems aside, good gunplay and interesting maps are enough to make the experience worth it, at least in the short term. A campaign or a large pool of maps could certainly enhance the value of the title, but even without it, you have a lean, satisfying experience that will be especially appealing to anyone with an interest in the First World War.

The decision not to release the drum controller in the West is a baffling one, as it robs Taiko No Tatsujin: Drum Session of its identity. However, if you're willing to give it a shot with a regular pad, there's a challenging rhythm game here for you to master, with a wide variety of tracks and seamless online play. The lack of extra modes is a shame, but if you get hooked on this game's unique brand of beat-matching gameplay, the climb towards better scores should keep you going for a good while.

Road Redemption feels like a PS2 arcade racer, for better and for worse. The high speed violence is fun to play in the decent roguelite campaign, online, and single races, and a cheesy tone keeps it down to earth. Visually, it's a generation behind, the controls take some getting used to, and there are undeniable performance problems, but there's a certain boldness and "screw you" vibe that somehow overrides these issues. If you're looking for a straightforward game to let loose in, this is a deeply flawed yet surprisingly enjoyable biker brawler.

My Hero One’s Justice is a perfectly adequate fighting game, and a good adaptation of its source material - but it's not much more than that. It provides a great opportunity to play as some much loved (and hated) characters, showcasing the variety of powers each has on offer while being a fun, engaging, and challenging anime-based title, but it's not quite the heroic effort that we were hoping for.

A fun throwback to a number of different beloved titles, Iron Crypticle is fun in short bursts and can be a blast with friends. Yet, aside from the charm of the 8-bit visuals, there isn’t an enormous amount here to keep you dungeon running once the initial novelty wears thin.

Our biggest criticism is that Sloane’s movement can be glacial, even when she breaks into a sprint, and that makes the constant backtracking a bit of a chore. You do unlock fast travel points and shortcuts, but you’ll feel like you’re going through the motions at times as you amble your way around the same streets and locations.

For the most part, Ghost Recon: Breakpoint is an enjoyable open world excursion, provided you know what to expect -- and let's face it, you probably know exactly what to expect. Its loot and gear score systems seem more than a little tacked on, but much like many of Ubisoft's other open worlders, there's a moreish quality to Breakpoint that's difficult to deny. In co-op there's potential for a lot of fun, and the freedom that you're given in both building Nomad and tackling missions is the game's greatest strength. However, an eye-watering number of microtransactions leave a sour taste, and a parade of annoying bugs give the release a disappointingly rough feel. Robust but bloated, Breakpoint is a mishmash that has its fun moments, but its identity is MIA.

A Plague Tale: Innocence deserves respect for daring to be different, funnelling you through a bleak European backdrop that’s seldom seen. Despite some neat ideas, though, the stealth and puzzle mechanics drag, and the story can’t quite make up its mind about what it wants to be. Furthermore, while the presentation is spectacular, the project lacks polish in key areas and overstays its welcome at times.

Redout 2 won't be worth the effort for a lot of people. It is rewarding, sure, but to be brutally honest, part of us thinks that you should just boot up WipEout Omega Collection instead and save yourself the trouble.

A fun first-person action game this may be, Killing Floor: Incursion rarely serves as anything other than just that. Its fluid play style and control scheme make decent use of being able to draw, aim, and holster your weapons with realism and ease, though it’s 4-5 hour campaign is often repetitive and lacks a little inspiration.

If you're looking for a fresh way to solve nonograms, this game's worth a gander, but others may not want to put on the specific brand of thinking cap required here for long.

The Shapeshifting Detective is an interesting idea that seems to have love and care put into it. Unfortunately, it’s a little too basic, and despite the gimmick of changing into other characters, becomes dull after about an hour of play. The actual narrative is an interesting case however, with additional hinted backstory for your main character, which is somewhat compelling. The visuals and tone are good too, but the hit and miss acting and slow pace make for a slightly underwhelming shapeshifting whodunnit.

It can't decide if it wants to be an RTS or a platformer, so both areas feel like they're not achieving their full potential. The presentation is gorgeous and it's enjoyable thinking about the smaller creatures in our world differently, but Empire of the Ants tries to be too much at once. The multiplayer is fun for a time, but lacks the depth seasoned strategy players want. A focus on either the story or RTS would have helped a lot.

White Night does a lot right, delivering a great story which only dips slightly in the run up to its conclusion.

Marvel vs. Capcom: Infinite is more complete than Street Fighter V, and its accessible bouts fare favourably – even though they’re likely to divide long-time franchise fans. But this package lacks the polish that you’d expect from such a high-profile title, and even accounting for its forgettable story, it still winds up feeling light. While it’s all largely agreeable, we’re yet to be convinced that this title is a knockout – let alone a Hyper Combo finish.

Lichtspeer's saving grace is its exceedingly satisfying aim-and-throw gameplay. Simple and yet devilishly compelling, it's the one trick up the game's sleeve that'll keep you coming back for more, despite some very challenging sections and so-so bosses.

Starlink: Battle for Atlas can’t decide whether to take its toys-to-life concept seriously, or drop it completely. It has a good, if somewhat repetitive, open world experience to offer, but it’s held back by mistakes that aren’t entirely its own fault.

What everything adds up to is a game that’s half good. If the more unique and compelling idea of the war was expanded upon, the title could have been much better.

You’ve already played a game like Rush Rover, but that doesn’t mean this little timewaster should be ignored. A dualstick roguelike, the shooter borrows liberally from various recent releases, delivering a wholly unoriginal yet generally well-executed experience. Playing as a mining machine, your role is to clean up randomly generated environments populated by rogue robots.