A trashy, overwrought psychodrama with the odd inspired touch that alternates between simple forensic puzzles and gimmicky gunplay.
A wasteland you'll love to wander, but not a game you'll necessarily relish, The Signal from T'lva is a dark, frustrating work.
A wobbly first-person horror whose moments of splendid unease are spoiled by clunky stealth, casual misogyny and warmed-over scares.
Playtonic's tribute to Banjo is a gentle, irreverent platformer let down by spotty handling and a slight shortage of genius.
Plastic's PS4 debut is an uneasy but exquisite mix of demoscene artwork and platformer, lifted by a sumptuous dance vocabulary.
Resident Evil goes back to its founding principles for a more cohesive and chilling breed of horror game that stops short of greatness.
Beautiful yet callous, Wildlands is a serviceable open worlder with strong co-op that doesn't quite put the Ghosts back on the map.
Infinity Ward's return is a substantial, spectacular package, but it doesn't innovate enough to stick in the memory.
A brainless, buggy open-world game that's forgotten the second you put down the pad.
The opportunity to revive Robot Wars in the wasteland makes up for some inessential new missions and a brief runtime.
Another rewarding glimpse inside the mind of London's greatest detective that's a little too old-fashioned and clumsy to shine.
A gloriously ghoulish horror game with some trippy transformations, held back by what it borrows from other releases.
Coldwood Interactive's plushy puzzler may warm the heart, but it rings hollow once the novelty of the yarn mechanics has faded.
A leaner, hungrier Far Cry from a bygone age that falls slightly short of achieving its potential.
The combat crackles and the worlds are lush, but mediocre writing and tepid quests add up to what is probably BioWare's worst RPG yet.
An ambitious, stylish and savage takedown of British hubris, but clunky crafting, collecting and combat make for a somewhat dull game.
As clever and original as it is tedious and broken, Mafia 3 has the makings of a classic, but doesn't go the distance.
These are intriguing times for gods in games. If the collapse of Peter Molyneux's Project Godus is an apocalyptic turn of events for the genre Populous gave life to, a new breed of "god sim" is on the march - one that seeks not to portray a god but to mechanically enact the uncertainties that make us wonder if deities exist. Breath of Life is a remarkable contribution to this highly select field. Its strength is that it looks at the same predicaments as Portal and Bioshock from a compelling angle, unburdened by lore, but it doesn't quite have the spark to be breathtaking.
A copious and often brilliant, if not quite unmissable reworking of a powerfully grim fantasy.
An exhaustive reworking of a foundational dark fantasy epic, with some quietly radical new ideas.