Lee Mehr's Reviews
Paradise Killer succeeds by selling all of its ostensibly contradictory artistic choices as inseparable parts of a greater whole.
Babylon's Fall is the latest example of a decent core concept being flagrantly corrupted by the live-service template, and whose prospects for improvement dwindle with each passing day.
There are some misgivings to find within its design, on and off the track, but Polyphony's meticulous craftmanship handedly surpasses them.
Sergey Noskov's post-apocalyptic game packs several interesting elements within the frame, but the picture is out of focus.
Like a heaping of horror media, Martha Is Dead's solid start and some nuanced supplementary mechanics are betrayed by its worst impulses by the end.
Beyond a couple of creative missteps, Uppercut’s sequel also feels reluctant to leave the wading pool and investigate its true interactive potential.
When weighing its successes and shortcomings, Aztech Forgotten Gods manages to stay airborne but never truly soars.
By trying to wrestle with a mixture of parkour/stealth/combat mechanics, a large open world, and reactive storytelling within a rotund narrative, it starts to buckle from its lesser elements and annoying technical problems.
A flawed-yet-engaging first season forcefully strapped to its turgid prequel, further harmed by current technical issues unfit for a remaster.
Little Orpheus' Cold War-era narrative captures the fun of vintage adventure serials, but its gameplay is as rewarding as a Soviet breadline.
Any earnest intentions The Guardians of Peace ostensibly had can't disregard how terrible it looks, sounds, and plays.
Despite some pretentiously cryptic puzzle design in the latter half, DP Games' first effort still succeeds from all of its strengths.
Kaiko's expansion seems fated to be compared to a dedicated, earnest, and haphazardly-designed fan mod.
It's hard to deny the missteps and missing launch-day features, but it's harder to deny how thoroughly engaging Halo Infinite feels.
Image & Form's first 3D title doesn't have any obscene messes to clean, but it never excels beyond a conventional distraction.
Apropos of the brand, NERF Legends has no punch.
Thanks to a surfeit of undaring options, solo and multiplayer, Sledgehammer Games' latest sports the most ironic subtitle of the year.
I think Nicolas Meyssonnier's work falls just short of its action-platformer goals. But when you consider its great Halloween-themed visual design, engaging soundtrack, strong personality, creative potential, and its place in today's market, genre fans can still have a gourd time with it.
Invisible Walls have made a nuanced social-deduction title, but current design & polish issues prevent it from reaching a "first class" experience.
Despite s-ohm frustrating drawbacks, Energy Cycle Edge is a respectable improvement in gameplay and presentation.