Darksiders III brings the best from the previous games as the story is good, the world is diverse, and the design is detailed. Unfortunately, its emphasis on difficulty doesn’t match with the promise of controlling Fury, a powerful rider of the Apocalypse. If you have to avoid even the lowliest enemies because they do so much damage, how can you ever bring about the end of the world?

Moons of Madness tries to fit in a genre of experience games like Everybody’s Gone to Rapture or What happened to Edith Finch. The potential is there because of the sci-fi setting and the Lovecraftian tale. Unfortunately, Rock Pocket Games did not have the courage to let go of your hand and leave you to explore and discover the world for yourself. They wanted to control the narrative too tightly and also felt the need to introduce some superfluous gameplay elements. As a result Moons of Madness feels like it’s trying too hard and trips itself.

PositronX has a good set of first-person shooter mechanics, equal to anything that the classics have to offer. Finding a good combination of weapons and powers to clear levels is a great experience. But, despite the procedural generation, once the game progresses, runs become too similar to one another for long-term engagement. The game also lacks much in terms of story to keep one interested. The fact that PositronX also lacks multiplayer, or the suggestion that it might be added in the future, also means that a game with instant appeal cannot convert its strong opening into long-term loyalty.

Neurodeck is an engaging take on the deck-builder genre. The enemies are varied, the cards have cool synergies, the runs in their entirety integrate combat and other activities well. Some difficulty spikes feel unfair. The good news is there are no opponents that cannot be taken down with good card selection and battle strategy. The game does not have the breath or innovation of the best of its class. But the focus on phobia, mental health, and stress make it an interesting experiment. Neurodeck shows how you can create a video game that offers information about the real world without looking preachy while also offering good core mechanics.

Dust & Neon is fast, exciting, and often challenging. There are a ton of weapons to constantly compare and equip, enabling variety when it comes to the playstyle. The rogue side of the game does not offer a ton of depth but has plenty of reasons to try again when death comes for the cowboy. The game’s universe is a little too conservative and does not embrace the potential weirdness of the cowboy and robots mix. Boss battles can also sometimes feel unfair. But I like Dust & Neon combat and players who want solid twin-stick shooter action should give it a look.

A decent multiplayer mobile experience that manages to combine the domination mechanic with more traditional MOBA systems. As of right now, it still needs quite a bit of work in terms of the movement and online lag, but quite a few updates have already been rolled out, so things might get improved soon.

Skully is a platformer full of challenges. The game is heavily testing not only your agility but also your patience. While it has an interesting basic concept, it feels unfinished and does not manage to immerse you in its world. When you see the rolling skull you would expect dynamic and fluid gameplay. Instead, you are presented with jumps that require ultimate precision and obstacles with errors in collision detection which force you to adopt a slow and careful approach. With more attention to details and some more polishing Skully could have been an entertaining experience. Unfortunately, it just proves to be a modest attempt to make a cute platformer.

Assassin’s Creed Chronicles: India is a good but still not great entry in the Chronicles trilogy. While it does manage to make a few improvements over China, the initial entry, it’s still weighed down by problems like the clunky combat, the somewhat erratic AI, or sections that require a lot of trial and error to complete in the best way possible.

I liked my time with Grand Age: Medieval, but after spending a lot of time in the Balkans in my first campaign, I want to see whether there's variety in switching to another region for the start town.

Po and the rest of the cast might be interesting initially, but those who love the genre in itself probably already have access to a Wii U and Super Smash Bros, with its larger cast and more polished core mechanics.

GreedFall: The Dying World has a strong combat system, more versatile and expansive when compared to the previous game. It feels more tactical, and you have to consider different weapon types, status conditions, team composition and so on. Granted, the enemies can feel generic, but you have an expansive skill tree to ensure that you mix things up as you go along. I also enjoyed the great world building, and bosses were a highlight for this experience. The team at Spiders surpassed themselves by creating an even better game than the first GreedFall, although this title has shortcomings. There are pacing issues with the story, the romance arcs are weak, and some areas/character arcs felt unfinished. It takes a bit to pick up and feel great, but once it does, you will find yourself spending many hours in this interesting world.

Alone in the Dark checks all the boxes when it comes to gameplay elements you would expect in a modern survival horror, but these seem to be stuck in the past. It feels like a project made with passion but enough budget to hit the AAA expectations. The archaic mechanics do not involve a pleasant nostalgia, rather make the entire game feel outdated. Overall, it is not a bad game, but it does not have enough oomph to make it compete with the best games out there, let alone reconquer the throne of the genre. With a hefty discount it can become an interesting choice for the fans of the genre, a period that should also give time to the developers to fix the bugs that are still present.

Neverwinter Nights Enhanced Edition for PlayStation 4 is not just a technical mess, it is an expensive technical mess. The magic of the PC version released in 2012 has vanished completely because Beamdog is trying to pull a cash grab taking advantage of our nostalgia. Instead of delivering the careful remaster of a legend we were promised, the producers are throwing at us a cheap port that will offend the D&D fans. If you feel nostalgic stick with the remastered editions of the 2D games and stay away from this one. We cannot recommend Neverwinter Edition Enhanced Edition for PlayStation 4 not even at a heavily discounted price.

Bright Memory: Infinite has its moments, but in the end, it feels like a project that could have been great if it was developed by an entire team with all the necessary resources at their disposal. Unfortunately, the moments that disappoint are amplified by the hype that was created around the game. Although it has potential, Bright Memory: Infinite does not live up to the expectations of those were waiting for this game. It is way too simple, empty and short, with only a few moments of fun.

Empire of Sin has the core of a good game that blends three genres in cool ways. I am especially fond of the man-management and the ways the various mobsters work with one another and react during combat. But the current implementation, especially that of the battles, is frustrating. Romero Games needs to make management more important and to bring the characters to the front more. Patches also should include auto-resolve and a big balance update. Empire of Sin needs all of this to begin to realize its clear potential.

The main problem with The Occupation is that it hides all the good things (i.e. great concept, strong narrative) under a layer of wrong design decision, bugs, glitches and awkward controls. I had high hopes for this one, but in this state I would not recommend The Occupation to just anyone.

Shiftlings is a fun little puzzle platformer with a novel mechanic that's pulled off pretty well. Unfortunately, some stages have confusing solutions and playing with a friend can be both laughter and rage-inducing, depending on your luck.

Call of Cthulhu does some things right for fans of Lovecraft's works, but the final result leaves the player unsatisfied. The atmosphere of dread and mystery, along with the story may be the only positives of an otherwise shallow, muddy visual and audio experience.

Top Eleven 2015 is the kind of experience that should have probably stayed on Facebook, where its limited mechanics and its money-driven elements feel more at home.

The game is deceptively fun and captivating, in spite of its seemingly basic interactions.

The game is worth playing and represents a new sign that video games have the ability to deal with serious matters, including censorship and the way even small tweaks can allow the news to shift our perception of reality and influence our actions.

Astria Ascending is a gorgeous, very ambitious and at the same time flawed experience. It has deep mechanics, but their implementation could have used some more attention. The graphics are as gorgeous as some tracks are memorable, but sometimes they are out of sync. The background story is rich, yet the game fails to use it, making you do to the very same actions in different locations. If you like old school JRPGs you will overlook the shortcomings and have a good time with the game. If you never had a soft spot for the game best represented by Final Fantasy, Astria Ascending will not make you fall in love with the genre.

Reverie Knights Tactics is a solid experience for anyone looking for a tactical battle title with a classic look and plot. There are no major innovations, but all the core systems work well, offering plenty of ways to deal with the combat puzzles at its core. Aurora is a solid protagonist, and the rest of the cast is likable. But everything moves too slowly for the full experience to be fun. During combat, I watched the same animations hundreds of times, more if I wanted to hit all the listed goals. On the world map, I had to move from one non-descript area to another. The developer at 40 Giants Entertainment had good ideas for Reverie Knights Tactics but they needed better implementation to keep me engaged in the long term.

Nevertheless, the game can be enjoyable for someone who has a passing interest in the exploration of space and in management, but it requires more tutorials, better information delivery, and more depth in order to appeal to a wider audience.

Many of the puzzles are unintuitive and the writing is all over the place. Also, playing almost the entire game without soundtrack (because there isn’t one) doesn’t really help with immersion at all. The Sundew is a rather short experience (3-4 hours), but not an enjoyable one, that’s for sure.

Sixty Four mixes idle and automation mechanics and will capture the attention of players who like the two genres with its focus on digging deep as efficiently as possible. The core design is clean and makes it easy for players to plan expansion or upgrades. Some might even be interested in the weird dialogue that anchors the limited narrative. But the game doesn’t do much with its premise and gameplay becomes repetitive pretty fast once players reach the green cubes. Alt-tabbing to wait for resources to accumulate is not fun. The entire concept is better suited for mobile phones. Sixty Four has some clever ideas but does not engage with the limitations of its genre.

God of Rock’s big idea, to mix fighting game and classic music concepts, is a very good one. I love how it manages to evoke stardom when I hit the notes at just the right time, groove to the music, and watch my favorite fighter pummeling an opponent. It’s easy to understand the mix of mechanics but it’s not easy to master them. The soundtrack is also great, both in terms of quality and variety. The game does need to improve its interface layout to accommodate more players. For anyone looking for innovation in the fighting game genre, God of Rock offers a good mix of mechanics as long as players have a few friends to battle against.

WARSAW wants to be a mashup of World War II and Darkest Dungeon but doesn't bring anything new to the table. WARSAW is a blatant Darkest Dungeon copy with no innovation or unique gameplay mechanics whatsoever. Everything that it might go as original in WARSAW exists in Darkest Dungeon in a slightly different form. Add to that the design flaws, bugs, and balancing issues and you have a subpar experience that can't be balanced by the tense atmosphere and interesting setting.