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Gripper sounds like a cool concept, but its execution leaves much to be desired. It simply makes too many bad decisions in game design to be a fun experience, instead it's primarily a frustrating one.
Bleak Faith: Forsaken is running on vibes alone; delivering a bundle of tremendously creative art design and a promising concept, tied together by the weak string of its functionality.
Being re-released on console has not done "Du Lac & Fey: Dance of Death" any favors. The efforts of its well assembled vocal cast can't overcome the weak visual appeal, awful controls, and shoddy narrative work.
Broken Roads could've been an amazing game with a rich story, memorable characters, and an engaging world, but the lack of depth and enjoyment in the gameplay and combat makes it hard to appreciate the good aspects of the game.
Reveil is entirely derivative of other works in the genre with nothing new to add, and if you think that might be enough for you, it's unfortunately not a very good version of all that either.
With elements that clash against each other constantly, Berserk Boy is the sort of experience that seems to never truly find its footing before the player puts the controller down for good.
While Ultros undeniably looks and sounds beautiful, the incredibly tedious gameplay and a time loop gimmick that leads to tiring monotony more than anything else make Ultros fail to be anything more than nice to look at in screenshots.
The Cub is a step sideways for Demagog Studio, with middling platforming stages, forgettable collectibles and underwhelming set pieces lifted up only by the signature Radio Nostalgia.
This remake of an Atari classic comes with all the trappings of a modern indie roguelite, padding a short and uneven experience.
Tiny Witch's combination of cozy and chaotic does not pay off all too well, as it embraces neither. It plods along to the finish line, leaving no strong impressions.
With a short campaign, lack of online play at the time of release and undercooked fighting mechanics, Sclash puts its worst foot forward to deliver an underwhelming experience.
With its mind-numbingly tedious combat, clumsy dialogue and a storyline which sounds like it's still an early draft, Testament’s greatest crime is that it severely outstayed its welcome.
Crime O'Clock is boring, tedious, and infuriating all at once: I recommend an I Spy book for a much better time.
After Us beats you over the head with paper-thin themes, but between the truly awful platforming and the frustrating level design, it'll be the least of your worries.
In a golden age of indie roguelikes, Death or Treat barely manages to eke out a silver lining.
Hunt the Night attempts at being a difficult top-down action game, but because of its frustrating gameplay and poor design the real difficulty is wanting to pick it up again.
Road 96 Mile 0 is a wildly disappointing follow-up to one of my favorite indie games of all time. Unless you love poor writing, acting, animation, dialogue, controls, and gameplay, pick another route.
Atomic Heart’s narrative lacks the gall to tackle any of its ideas thoroughly, and is made worse by having to endure it through the eyes of a tremendously unlikeable protagonist. Its moment-to-moment gameplay is passable at best, and a chore the rest. Though visually the game is beautiful, it’s not enough to distract from an otherwise hollow experience.
Fans of the anime series or manga may eat it up with a spoon, but "Made In Abyss: Binary Star Falling Into Darkness" is less an action-JRPG and more of a misery simulator which equates willingness to blindly accept the painful systems as "enjoyment." If you're not a fan of the series or a glutton for cruel and unusual punishment, pass this one by.
There was a lot of potential in Kingmaker, but also a lot of wasted potential. The developers might still be able to salvage this potential if they listen to criticism and are willing to overhaul the game in every possible way.