Eschewing its blatantly campy potential in favour of an effort-devoid mess of ideas and tones, Bloodshore is as disappointing as it is utterly forgettable.
The Quiet Man near-instantly derails a compelling concept with its most horrid execution and thigh-slapping self-seriousness, and is sure to go down as one of the worst games of 2018.
While just about every PSVR owner has been clamouring for the platform to get its own worthy successor to Time Crisis that makes stellar use of the marvellous Aim controller, this embarrassingly clunky, depressingly soulless shooter sure isn't it.
Though Alchemy clearly prides itself on delivering premium VR experiences with state-of-the-art camera technology, this one is ironically hamstrung by its wholly unremarkable visual acuity.
With its bare bones presentation and lackluster amount of content, this is basically an overpriced Mario Kart knock-off that’s vaguely amusing for about half an hour before its limitations become abundantly clear.
A shameful disaster which fits only the loosest standards of "fit for sale."
A mildly amusing but mostly undercooked martial arts romp, Mia and the Dragon Princess is a strictly-for-enthusiasts FMV game that struggles to muster much interest.
It takes itself far too seriously to be appreciable as a self-aware throwback to the campy origins of the FMV subgenre, but is too daft and cheaply produced to actually be taken seriously at all.
There are flecks of intrigue and entertainment throughout Don’t Knock Twice, and a patch would certainly elevate the game from bad to passable, but at launch the ludicrous technical problems mar an already pretty iffy, bare-bones horror “experience”.
Falling prey to so many early-VR pitfalls, the depressingly dated Golem is a stamina-sapping slog.
The charmless and disappointing Dangerous Driving is effectively just Burnout with the soul ripped asunder.
A strictly-for-fans offering, Mile 0 offers up a disappointingly linear, middling prologue to Road 96.
If touting the strongest premise of any Dark Pictures title to date, The Devil In Me’s expanded play-time and larger suite of gameplay features ultimately only make the experience more tedious.
Not a terrible way to kill a few hours and certainly better than most of Wales Interactive’s recent FMV projects, but still sullied by presentational flaws and unremarkable storytelling.
There’s undeniable educational merit to this VR doc, though it’s bogged down by... the low video quality and that pesky screen tear seam, which produces significant sickness effects while exploring the ship interiors later on.
Some may also be disappointed by The Lost Bear‘s aforementioned length of an hour; there’s clearly a foundation here for a game that could’ve been several hours longer across a more diverse array of locations, but instead, like so many VR games it just feels like a slice, an “experience” that’s capable of so much more.
There is a great game here desperately gasping to escape the force choke of corporate greed, but at launch, it’s a decisive L for gamers everywhere.
The biggest issue with Little Hope is that it doesn’t really function particularly well as a horror experience that gets under the skin, filled with tepid, predictable jump scares and been-there-done-that plotting.
Serious Sam 4 feels frustratingly stuck in the past, using the guise of nostalgia to offer up a sub-par, grossly dated product.
The Complex is desperately lacking the narrative meat necessary to support its promising presentation, so only the most ardent FMV game fans need apply.