It uses the limitations and opportunities of touchscreen controls almost perfectly, it’s easy to get into but increasingly challenging, and its genius in-game economy keeps one coming back for more.

The only worthwhile thing to say about TAKEN is that its name is quite meaningful indeed – it’s taken peoples’ money, and it’s done nothing to earn it...Oh, and the “scary” little girl looks shit.

Knee Deep, Act One: Wonderland at least has me hooked for the second installment, so it’s doing plenty right. Despite its missed opportunities, it still manages to entertain, and I’m eager to find out more about Cypress Knee’s sinister secrets. Hell, I dig it a lot more than Life Is Strange, I can say that much.

The game regularly untethers itself long enough to provide some gratifying portable fun – not enough for me to encourage anybody to immediately obtain it, but it’s a decent enough timewaster to be worth checking out at some point in time.

I don’t like it, okay? Stop it, Sonic Runners, stop doing everything you’re doing. Well, except that part where you allow yourself to be a game, buried under mountains of distasteful gibberish...Also, the loading times are crap.

While it’s still playable, and even enjoyable in a fair few instances, its baseline problems combined with the PC’s unique setbacks make Arkham Knight fit for the price drop list.

Tales From The Borderlands Episode Three is easily the best installment so far in Telltale’s trip to Pandora, and it’s cemented the entire series as my favorite Telltale production to date.

Thanks to the improvements made – and maybe the lack of anything like it outside of maybe Bayonetta 2 – it was a true pleasure to return to Capcom’s world of jacked up angels, plant dragons, and Dante hamming up every single delicious scene he’s in. Truly, it’s good to be back. It’s better to be back than it ever was.

It’s a fantastic example of how to do a free-to-play game correctly, and the fact it’s made so much money already through the carrot rather than the stick only goes to show what happens when you don’t treat your audience like cattle.

Her Story is a surprisingly rewarding experiment in game design. Perfectly presented, and with a beautiful soundtrack that creeps in at key moments of the investigation, this Sam Barlow presentation is most certainly memorable, and more attention grabbing than its passive nature might lead one to believe...It needs something extra to it to really stand as something special, but Her Story still kept me hooked long enough to dig out its secrets, and that’s definitely a success.

Alone in the Dark: Illumination is ugly in every sense of the word, not just visually – though it is about as attractive as an anus in an eye socket. Hideous both inside and out, it’s the consummate fraud that hides behind a recognizable name to deliver interactive poison.

An incomplete, creatively bankrupt vacuum. If we’re so starved for nonviolent experiences that this is what we champion, the industry’s in worse shape than I thought.

I’m thrilled it’s on PC, and I’m delighted we’ll finally get to see the series continued – this prologue and two full-fledged episodes are great, but I really need to know what happens next!

A grim part of me actually looked forward to this. Good or bad, I thought we’d get something provocative or remarkable in some way, shape, or form. Instead, we got a prosaic and outmoded little pile of cynicism. Perhaps worse than that – we got a damn boring game.

Despite a simple idea and a handful of maps, this eccentric shooter does – as the game’s irritating in-universe TV hosts declare – “stay fresh.” It balances strategy with anarchy in a riveting way, and nails the balance between instant gratification and heartbreak as players obsessively cover their world with color and have to watch as their hard work is consistently overwritten in a way that only makes one more desperate to hit back.

The plot’s driving forth at an effective pace, the characters are each growing in their own unique ways, and things end in a way that promises a lot of huge things for episode five. If you’ve been following along with the series up to this point, you’ll definitely be gripped by this one.

A truly great game that rises its head above its own hot water to proudly present a prosperous experience that only the most deliriously expectant could feel shortchanged by.

Feeling both nostalgic and fresh at once, it’s an entertaining slaughterfest with a strange sense of humor, a gleeful celebration of comic butchery that takes some fairly dark material and makes light of it effectively.

Wolfenstein: The Old Blood continues MachineGames’ commitment to offering classic ultraviolence with some sensible modern concessions and a deeply buried philosophical side.

I love State of Decay, and that needs to be communicated with all the sincerity in the world. I love that bloody videogame...State of Decay: Year One Survival Edition is a cynical rehash that needed to be much, much more.

It’s disgusting on almost every level, and the fact Topware is selling it for $54.99 is unforgivable.

It’s clear that China took the best bits of its larger siblings and added its own flavor – I feel the big budget work of Ubisoft Montpelier would be served well by returning the gesture.

Those who felt turned off by the critically maligned Dungeons would do well to give Dungeons 2 a look. It evolves the dungeon management subgenre in a number of clever ways, and the hands-on strategy elements make for a fantastic compliment.

As an early foray into free-to-play games, it shows that Nintendo at least isn’t willing to fleece customers with a kind of reckless abandon showcased by the locusts of the mobile game world – but it’s going to have to do far better than this to justify its monetary desires.

While not a thoroughly outstanding game, BOXBOY! is an eminently pleasant, breezy little puzzle-platformer that offers some moderate challenge and focuses more on just having a nice time. A fuss-free, no-pressure adventure that takes a plain gimmick and showcases just how versatile it can be.

The game is still as great as it always ways, and despite the graphical downstep, it’s no less enjoyable on a smaller screen. I relished the excuse to play it once more, and have been having a blast as I once again alter futures, smash up robots, and indulge in a little private Reyn time.

War For The Overworld is a fixer-upper, and I wish I could lavish it with more praise, but the blemishes it’s launching with are undeniable and numerous. That said, it’s also a damn fine game with a ton of heart, one that’s done more for the good name of Dungeon Keeper than any official source has in years.

It’s still as derivative as it ever was in terms of premise, but with a more convenient controller, worthwhile gameplay tweaks, a stack of extra stuff and a stable, populated online mode, Omega Force has turned it from an “okay” game into a pretty good one.