Kamil Dyszewski's Reviews
Alekhiene's Gun is riddled with bugs, glitches, and graphical imperfections. It's unpleasant to play, or even look at, and quite frankly it's not worth the disc it is being sold on.
If only the devs have spent a little more time polishing the game up, to an acceptable standard, we could have had a real gem on our hands, however, not a single aspect of this title is developed to its limits. Everything feels cheap and unfinished, and the core of the tile, which should in the very least be competent, is just like the rest clunky and amateur like.
7 Days to Die, is as disappointing as it is unfinished. And just like its PC counterpart, the PlayStation 4 version of this particular title should still be labeled as alpha, rather than a finished product.
Not to sound overly negative, it has to be said that Neon Drive is a title with a lot of promise, but unfortunately one which has been extinguished with the use of questionable design choices, and unnecessary force-fed variety. In-fact, Neon Drive is a lot like the new-wave/punk rock Scottish band The Rezillos. It’s loud, vibrant, and colourful, but only a very small portion of it holds any substance. And many will realise that such is the fact in an instant, and will forget about Neon Drive, just like the world has forgotten about The Rezillos. But just like the band, Neon Drive may come back one day, during a sale, and will sell out its content for pennies to the masses who will only pick it up, simply because it is cheap.
In all honesty, the Wintermute should have never been released in the state which it is in right now. And if you take it out of the equation, the Survival and Challenge Modes which also share flaws with the Story mode, are simply not worth the baffling $34.99 which the developers are asking for.
Instances of blind fury which come with inconveniences related to both level design, and in-game AI, are extremely troublesome when taken in context of the fact that FlatOut 4: Total Insanity relies on circuit racing. And it doesn’t matter if one undertakes the challenge of the campaign, multiplayer, or of the handful of featured stunt modes, because each and every time, the same issues occur, without fail. And that’s not only disappointing, it is as mentioned previously, simply infuriating.
McDroid, is a game which has been clearly developed by a team with great ambitions, but ultimately failed to reach its desired heights. It’s like a creation of Dr Frankenstein, a product of a landslide of influences and ideas, which ultimately gave birth to a monster, which is repulsing in its appearance, difficult to control, and ultimately has no personality of its own.
Super Toy Cars, is a title which you shouldn't worry too much about. It's short, forgettable and filled with empty promises, the diversity which developers have promised is non-existent, and tracks, with exception of a couple, feel just like re-skins.
Ultimately Inside My Radio is its own biggest enemy. For each and every thing that it does right, it does 10 that are wrong. And once the positives and negatives are compiled within a single list, you get an incredibly messy title, shorter than each and every game available on the PlayStation Store.
Virginia is the only thing which prevents itself from achieving greatness, as it tries to imitate a TV show, while attempting to abandon the fact that it’s a videogame. As previously stated, a combination of videogame mechanics, with a structure and direction of a TV series, is borderline impossible and Virginia is a great example of that.
The experience of Dear Esther would be identical if it was presented as a short story, or an on-rail VR video. The lack of interactivity only further exposes the flaws which have been created through forceful transition of Dear Esther from paper into a videogame format. But despite all its flaws, it is still an interesting ‘thing‘ to experience, especially if you want to see the beginnings of the walking simulators first hand.
The Technomancer is an overwhelmingly average title, filled with questionable design choices, and agonizingly painful, roller coaster-like difficulty.
A great time waster, enjoyable in short bursts. However for some, 15 minutes of gameplay on day-to-day basis, may simply not be enough, and unfortunately that's all that Catlateral Damage has to offer.
Dreii, while not being exactly revolutionary or groundbreaking, is a resolute and competent title which unlike other games of the puzzle genre, allows you to challenge its levels with a friend. However, it's a game which has been clearly designed for touchscreen devices.
Poncho is a game based around an interesting concept, but the execution of the title is so poor and inconsistent, you spend more time respawning than actually playing
Ultimately, Soul Axiom, is a title of an eerily odd nature. It seems destined for greatness, but instead of pursuing it through excellence of execution, and simplicity, it strives for elaborate complexity it doesn't quite comprehend.
Tachyon Project, suffers from exactly the same issues Super Toy Cars did, and even though these are two completely different games, they both lack quality in exactly the same places.
If mowing down brainless mercenaries and mutants in confined spaces is your thing, then you’ll feel right at home with the Redeemer: Enhanced Edition. But if you are expecting something more from the £25/$30 which you’ll have to spend on this particular release, then you will be inexplicably disappointed – especially when faced with title’s numerous issues.
Despite being a thriller, Late Shift, is not nearly as well written, or structured as the films of the very same genre, such as the critically acclaimed North by Northwest. And that’s okay, because unlike Alfred Hitchcock’s masterpiece, Late Shift is a compound entity, which consists of numerous scenes which revolve around each other depending on the choices made by the player.
A soulless addition to a phenomenal franchise, which has been seemingly created only for the old guard of the Soulsborne titles. However, even the fanatical fans of the series may find the overwhelming feeling of familiarity to be too strong for its own good.