Killing Floor 3 is NOTHING like the older games—and while that’s not all bad, it loses much of the chaotic charm in trying to be something new. It takes itself too seriously, trading identity for polish, but without the baggage of its predecessors, there’s still fun to be had.
Destiny 2’s decline has been a long time coming, and The Edge of Fate only speeds it along. A dull epilogue paired with frustrating mechanics does little to justify its existence. The real improvements came from the free updates, not the expansion itself, not that it saves that much, anyway.
SplitGate 2 is, at best, a half-baked mix of better games. With a meager selection of classes, weak loadout variety, a forgettable battle royale mode, and even more battle pass slop, it’s a shooter that barely leaves an impression—let alone earns your time.
FBC: Firebreak is a solid idea held back by a premium price and early-access-level polish. At $40 (more on PlayStation), it feels more like a mid-roadmap build than a finished 1.0 release. The core gameplay, story, and production are strong, but missing QoL features, sparse content, and optimization issues drag it down. Remedy may patch things up in time, but right now, Firebreak just isn’t worth the ask.
FNAF: Secret of the Mimic is carried by the franchise, not the gameplay, but it’s still more FNAF, and that’s more than enough for fans. Lore, world-building, creepy animatronics—it’s all here, and with great graphical and performance optimization to boot. Just don’t expect more than that, and you’re Golden Freddy.
RoadCraft puts all its eggs in the proverbial basket of innovation, boasting a stellar physics engine and detailed driving and mechanical control systems. But with an inadequate tutorial, frustratingly slow initial progress, and an overemphasis on driving over building, it veers off its own course, losing sight of player accessibility and its own genre's roots.
Despite what its title may suggest, DOOM: The Dark Ages plays more like a brutal renaissance for DOOM, trading the aerial flair of DOOM (2016) and Eternal for a grittier, boots-on-the-ground combat loop. With a mech, a dragon, a darker story, and a crusade-sized campaign, it's everything you'd want to sink your chainsaw shield into.
Forever Skies stuns with its visuals, score, and storytelling—but its true magic lies in the freedom to build and pilot your own airship through a post-apocalyptic sky. It’s thrilling, thoughtful, and wrapped in a tight gameplay loop with real emotional weight. The launch had a few bumps, but with updates on the horizon, this game’s future is nothing but skyward.
Tempest Rising blends old-school RTS brilliance with the power of modern technology, delivering a nostalgic yet fresh experience for everyone. Built in Unreal Engine 5, it looks great, plays even better, and hits all the right notes—gameplay, troop variety, quality-of-life, and sound. The multiplayer mode’s still catching up to the campaign, but with more content on the way, this game could easily surpass the classics it pays homage to.
South of Midnight is a creative triumph trapped in the wrong medium. Its gorgeous animation, heartfelt voicework, and rich world-building shine—but a dull, vestigial combat system drags it down. It’s not just missed potential; this should’ve been a movie, not a middling action-adventure game.
The First Berserker: Khazan may be the best non-FromSoftware soulslike yet. Its anime-inspired visuals, soaring orchestration, and frenetic combat make for an unforgettable experience. With a brutal, personal story and rich world-building, every battle carries weight. The skill floor and price may be steep for newbies, but greatness comes at a cost—and this one’s worth every blood drop and penny.
Assassin's Creed Shadows isn't awful, but it’s not the game fans deserve. Clunky combat, awkward animations, and a departure from the series' standard make it a mixed bag. Still, its expansive world, production value, and new mechanics might justify giving it a try when it's on sale, if you aren't an AC purist, that is.
Blood Typers is a wildly creative idea executed with impressive finesse—though not without a few stumbles. Its bonkers premise and unique gameplay make it worth checking out, even if sparse save points and stubborn bugs cause frustration. Still, the aesthetics and sound design nail the vibe, and at just ten bucks, it’s a steal. Not bad for a game where you type random words to cave in skulls.
Reality Break is a game of extremes. The combat is fantastic, the loot system is top-tier, and the in-run mechanics are engaging across the board (except, perhaps, the story). On the other hand, the metagame progression and accessibility options are about as barebones as they can get. For all its sci-fi pedigree, Reality Break comes with an equal share of issues that need fixing.
As much as I’d love to give it a perfect 100, Civilization VII isn’t quite the full evolution of the Civ formula it was hyped up to be. Don’t get me wrong—it’s still a fantastic game, just not as refined or complete as it ought to have been, with some oddly incomplete systems and uneven pacing. But if you can look past that? Then, sure—this might just be the perfect 4X experience you’ve been waiting for.
Orcs Must Die! Deathtrap feels like the result of expanding in every direction except forward. While it throws plenty of new elements into the mix, none of them stand out as true innovations over Orcs Must Die! 3. That said, it does have its strengths: a few great ideas, an enjoyable soundtrack, wide-open maps, a skill tree, and even and genuinely engaging gameplay. Just don’t even think about playing solo—you’ll end up suffering twice as much for the effort.
As the late Wayne June would attest, overconfidence is a slow and insidious killer. If Redhook had stumbled even slightly in reintroducing one of Darkest Dungeon’s most beloved characters, they’d have been six feet under by day one. But they didn’t — they knew exactly what fans wanted from the Abomination, and even threw in a new area and game mode for free, to much applause. Sure, the Catacombs could’ve used more development, but the Abomination is perfect as is. And if the worst thing you can say about a game is that you want more of it, that’s a testament to its quality.
It’s no surprise this game has been eagerly awaited for its full release. After years as a standout early-access title, it has matured into an RTS experience worth celebrating. With its polished mechanics, diverse playstyles, challenging yet fair difficulty, and a generous dose of stellar art direction and production value, it’s everything an early-access game aspires to become. If you’re ready to rise to the challenge, this game promises one unforgettable ride from start to finish.
Tetris Forever is less a coin flip and more a litmus test: are you a Tetris fan? If yes, you’ll likely find plenty to appreciate; if not, this collection is unlikely to change your mind or stimulate it. The extra features and historical overview add some flair, but they ultimately don’t elevate the experience beyond a niche appeal. For longtime fans, it’s a loving tribute—but for anyone else, it’s just a bunch of old games and a museum exhibit.
Songs of Silence is a Fabergé egg of a game: exquisitely crafted, lavishly detailed, and undeniably beautiful, yet ultimately decorative. Its true value lies in its visual splendor and evocative soundscape, gracing a gameplay core that’s serviceable but lacks the innovation or excitement that would make it truly memorable. If you buy this game, it’s purely for the artistry—for its aesthetic appeal, not for a deep or groundbreaking gameplay experience. For some, that might be worth the price; it was for me. But for others, it may not be worth the gilded exterior.