The Crew 2 had the right idea with its open-world motorsport playground and mix of cars, boats, and planes, but it never quite sticks the landing. The world feels empty and repetitive, progression drags, and most events blur together rather than offering memorable moments. While there’s occasional fun to be had switching between vehicle types, the loose handling and lack of depth make it hard to stay invested. Not a terrible game, but it feels like it tried to do too much and ended up doing too little.

Away is one of those indie curiosities that looks unassuming at first and then lingers in your mind long after you’ve played it. On the surface, it’s deceptively simple: a short, black-and-white journey into the final moments of a protagonist’s life, told through minimalist visuals and introspective pacing. What struck me most was how much atmosphere the developers managed to build with such a stripped-down presentation — the stark art style and muted tones create an emotional space that feels contemplative and personal rather than just stylistically sparse.

The game’s strength lies in how it uses its brevity to tell a focused, evocative story. There’s no filler here — each moment feels intentional, and the bleak world you traverse matches the tone perfectly. Sound plays a surprisingly big role: subtle environmental audio and understated effects fill in the emotional gaps where visuals leave off, giving Away a meditative rhythm that pulls you along even though the gameplay itself is minimal. It’s less about challenge and more about immersion, reflection, and mood.

That said, Away isn’t without its honest limitations. By design, the experience is very short — most players can reach the end in just a few minutes — and that brevity is precisely why some find it hard to call it a “full” game. The narrative is delivered in quick bursts, and for a game that revolves so strongly around atmosphere, some moments might feel too fleeting to leave a deep emotional impression. Because it’s so brief, its impact will very much depend on what you’re looking for: if you came expecting traditional gameplay, exploration, or challenge, you might walk away wanting more.

Still, for what it is, Away manages to create an experience that feels more like a vignette or artistic vignette than a short game. It doesn’t overstay its welcome, and it doesn’t pretend to be more complex than it needs to be. In a world where games often measure worth by hours of content or mechanical depth, it’s refreshing to encounter something that leans into simplicity and mood. In those moments, Away works — and it works well enough that I’d recommend it, especially at a low price or when it’s on sale. It’s not everyone’s cup of tea, but as a brief, atmospheric walk through a uniquely somber concept, it’s worth experiencing.

Rating: 7/10 — Brief and limited but thoughtfully atmospheric and worth a look for fans of introspective indie experiences.

the man does indeed have a hat and the ward is indeed of shadow

How it feels to be FBI

more like GooNNER

but in all seriousness, this game was surprisingly fun. Runs are quick, challenging, and rewarding, and the game’s unique visual style makes every moment stand out. While it can be punishing at first and doesn’t explain much, the rhythm of dying, learning, and improving quickly becomes addictive. If you enjoy skill-based roguelikes with personality and momentum, GooNNER is absolutely worth a recommendation.

Destiny or Fate is a deck-building roguelike with a few solid ideas, but it struggles to stand out in a genre already filled with stronger, more polished titles. On the positive side, the character variety is decent, runs are quick to jump into, and the art style is simple but appealing. There’s a good foundation here, and you can see what the developers were aiming for.

Unfortunately, most of the game’s issues overshadow its potential. The biggest complaint — shared by much of the community — is how heavily the game relies on RNG, often to the point where your decisions don’t feel meaningful. Enemy encounters, drops, and event outcomes can swing wildly, making progression feel inconsistent and sometimes outright unfair. The balance is also noticeably off, with certain heroes and card synergies being overwhelmingly strong while others feel nearly useless. Combined with repetitive encounters and limited deck-building depth, runs start to blend together without offering the long-term strategic satisfaction the genre is known for.

There are flashes of fun here and there, but they’re buried under uneven mechanics and underdeveloped systems. It’s not a terrible game, but with so many superior alternatives available, Destiny or Fate ends up feeling more like a rough draft than a fully realized roguelike experience.