Proving that looks aren’t everything, Crimson Desert’s stunning visuals and strong performances aren’t enough to save it from being a disappointing experience. Jam-packed with content and systems that make it feel like a Jack of all features, master of none with an unenjoyable gameplay loop, Crimson Desert is really just a single-player MMORPG in all but name.

Alone in the Dark marks a fine attempt at contemporary survival horror mechanics but is completely adrift with an incoherent narrative, dull design, and baffling tonal choices.

A disappointing revisit to something fondly remembered, Grand Theft Auto: The Trilogy – The Definitive Edition struggles to remind you of what made these games so memorable in the first place.

Atomic Heart has an impressive command of aesthetics and occasionally gives you the tools to enjoy its world, but an unstable console build, unsatisfying systems and complete misfire of a script prevent these atoms from achieving the necessary fusion.

Wheel World is an enjoyable enough game that gets right to the point of riding a bike and saving the world. The cycling challenges and narrative require nothing but a desire to work away at customising your bike to best go up and down hills, slide around corners, and jump ramps. While its creativity and riding mechanics are minimal, its vibe-based world is perfect for a casual player who likes the premise of a bike-based society.

Game Over is a game bursting with music, colour, and movement which can make for an overwhelming gameplay experience. As players scratch their heads at the impossible rhythm challenges and get to know their instrument-people communities and their humour, they will also battle frogs, use special platforming powers, and all the while try to figure out why their world is glitching. Some will love the zaniness of their situation while others may feel exhausted by the central mechanical and story elements.

Fobia – St. Dinfna Hotel lifts liberally from the best of the horror genre but its unsatisfying core gameplay loops leave you out in the cold. A nifty camera mechanic allows for some entertaining time-bending exploration and the game has a solid grasp on 2000s grunge aesthetics, even if the story at its heart is a little old hat.

The atmospheric visual overhaul marks the best part of this exhausting and dated remake, while the villainous AI SHODAN remains a timeless antagonist.

Despite some stunning visuals and an excellent soundtrack, Aphelion sadly doesn’t have the narrative prowess that DON’T NOD is known for. Bland characters and a story that doesn’t deliver on its promising premise, plus a tedious gameplay loop makes this sci-fi adventure a disappointment.

Art of Play definitely deserves some thanks for bringing The Phantom back to video games, and it’s clear the team has a deep reverence for Lee Falk’s character. As a fan of The Phantom myself, it’s great to play him once again, and I hope this isn’t the last time we see him. But as a beat-‘em-up experience, The Phantom is unlikely to draw a big crowd outside of dedicated fans.

Chocobo GP copies the work of better kart racers while fundamentally missing the mark on what makes them great. It delivers entertaining Final Fantasy fanservice that's at least two decades too late for the one audience that might still find the fun it and tacks on microtransactions to boot. It's functional and sometimes fun but otherwise not worth your time.

Static Dread: The Lighthouse employs a brilliantly unsettling art style and threatens to go to interesting places before disappointingly settling into monotony.

Beautiful yet flawed, Possessor(s) misses the mark with its blend of Metroidvania exploration and brawler combat, resulting in an unfortunately frustrating fusion.

The highest praise I can muster is that it’s functional, while slow to load it is at least a steady performer. Roping mates into matches with you will undoubtedly inject some life into the thing too, and the aesthetics of Crash and co. do a lot of heavy lifting to give this very basic experience the appearance of fun at least. On its own merits, it’s aggressively fine, but considered as a shelved product, Crash Team Rumble feels a little like it’s taking the fruit right out of your pocket.

Unfortunately, the game's interesting character designs and a decent art style aren't enough to carry it through its mediocre combat, rough audio and low stakes.

King's Bounty II is a well-meaning sequel that unfortunately lacks the character required to live up to its predecessors. Mediocre storytelling and shrug-inducing graphics and sound are partially redeemed by a decent combat system, albeit one without the courage to experiment.

When the game is fun – it’s a hoot, when it isn’t fun – it’s tedious… and when it isn’t tedious, it’s downright boring. Somewhat worth a play, but measure your price accordingly to ensure you get the right return on investment.

Broken Roads is a gorgeous Aussie world undone by incurious writing, ambitious but poorly implemented ideas, and unstable performance issues.

Curse of the Sea Rats’ charmingly nostalgic art direction can only partially hide a Metroidvania whose mechanical shortcomings are numerous, and whose substandard technical stability is irredeemable in its launch state.

Sable should be applauded for its strong aesthetic choices and ambitious restructure of open-world priorities, but it fails to fully deliver on its premise and is ultimately undone by a lack of polish or engaging mechanics.

Despite some grave issues, I want to affirm that Killing Floor 3 is not a bad game. It’s certainly a bad time if you’re on PlayStation 5. Rather, the low ceiling for gratification that the Killing Floor formula offers has seen some exciting improvements and controversial tweaks this time around. The itch is scratched, slow-mo hyperviolence intact. I’m just unsure where its confidence has gone, as it has unnecessarily overcomplicated every aspect of the otherwise casual horde shooter into a bafflingly opaque mishmash of its competitors’ form.

The ramshackle world that Zoe is trying to save feels a great deal like a metaphor for the game itself. What we have here is a game that, despite glimpses of interesting ideas, ultimately feels visually over-polished and underdeveloped. I see the concept of what Steel Seed aspired to be, and I desperately wish it had hit that mark –the experience on offer is uniquely impressive from a conceptual standpoint, but the execution of it all just asks too much of my patience to vibe with it properly.

Breathedge takes an interesting premise and shoves it out the airlock with an overreliance on tired jokes and half-baked survival sim mechanics. An admirable attempt to move the genre forward collapses under the weight of too much self-awareness and not enough polish.

Gods Will Fall is very much a game that's almost there with a lot to like, but unfortunately it fades too quickly.

Godfall doesn’t do anything egregious or worse than any of the other disappointing looters of this generation, but it does almost everything equally as badly in a weird perfect balance. This is what makes it so frustrating. There is definite potential for a gem inside this game, but it’s so busy with being a downright average-at-best looter that it loses all semblance of actual personality, a key component to maintaining a looter game. Impressively non-existent story, incredibly derivative art, classes which mean absolutely nothing, a deceptively small loot pool, technical issues up the wazoo, terrible endgame design and a horrific netcode all add up to a visually pleasing but soulless affair that can’t even begin to escape being categorised as anything more than a flashy tech demo.

Airoheart attempts to recreate the magic of The Legend of Zelda: A Link to the Past in its own image, only to see itself let down by its painfully average storytelling and lack of direction in its dungeons.

Evotinction draws inspiration from a host of classic sci-fi influences, but flip flops between tropes and struggles to find an identity of its own. Its flat tone and atmosphere betray the beauty of its presentation, and what is really a basic story fails in many ways to hold itself together under the weight of its loftier ambitions. The action stealth certainly flirts with some interesting ideas, but a lack of balance and wonky execution unfortunately make it another imperfect cog in a machine that already has several. ChatGPT may rise up one day and decide that humans are a nuisance to be eradicated, but Evotinction fails to capture the potential horror of that.

When AFL 23 delivers on its on-field vision it’s the best Aussie Rules video game out there, but the lack of execution and content means that it's not quite the contender it could have been.