Ultimately what was intended as a thoughtful depiction of a terrible mental illness has ended up casting it as something of an asset: a helpful superpower that can give you the strength to soldier on through the darkness, so long as you can put up with the odd breakdown here and there. That, we suspect, was not what Ninja Theory intended. It's certainly not what we had hoped for. [Issue#310, p.112]

By turns astonishing and insufferable, there is as much here to make your eyes roll as widen. Even the moments when Hellblade II delivers nigh-unparalleled visual spectacle (see 'Giant steps') are soured by the fact that our involvement in these set-pieces so often feels incidental. For long stretches, it's akin to watching someone else play, only occasionally - and always unwillingly - handing back the controller. We can't help but return to that old chestnut about the interactive experience being a conversation between designer and player; there is an irony that in this, of all games, we're scarcely able to get a word in edgeways. [Issue#399, p.104]

With that, a largely flat Metroid is further degraded, from disappointing to a little bit embarrassing. Nintendo games have tested our patience before, but rarely in so many ways at once, and not without a core brilliance that makes such transgressions forgivable. Whatever ideas swirled in your mind back in 2017, you can't have been dreaming of this. [Issue#419, p.100]

It's the Excitebots themselves that disappoint most, so drearily conceived that they make the predecessor's humble trucks look like flaming DeLoreans. [July 2009, p.100]

Once guns are acquired you feel less helpless, but the combat is awkward with enemies reacting poorly to hits and a compulsory manual reload that is ponderous beyond belief. In trying to make the game realistic, Headfirst has grievously shot itself in the foot. [Dec 2005, p.112]

For such a costly flagship title to provide neither the promised statement of mainstream grown-up appeal nor even polished, lesser disposable thrills is a landmark failure. [May 2006, p.92]

With the episodic development cycle all but demanding that structure and form be locked down in the first instalment, with content added thereafter, the series' future looks precarious at best. [June 2008, p.90]

With no real sense of connection with your monsters, or of engagement with the clumsily delivered plot, there is little here to help the game overcome its tendency towards charmless, chore-based repetition. [Jan 2004, p.106]

You wonder if players will have wanted to spend this amount of time loafing around the Homestar Runner universe, or whether their interaction with it is best limited to ten-minute bursts via their web browser. [Oct 2008, p.101]

For such a costly flagship title to provide neither the promised statement of mainstream grown-up appeal nor even polished, lesser disposable thrills is a landmark failure. [May 2006, p.92]

This is a game that prizes style above all else, and emerges a mess because of it. [Issue#331, p.118]

Disjointed and directionless, Croft's descent into darkness is, shockingly, one hell of a mess. [December 2018, p.106]

You get the impression the only person who cares about Kain's legacy any more is the writer. The turgid battling lets an average game down. [Jan 2004, p.107]

The pretty basic minigames are bland, and the worst, such as Pot Luck, are based on blind, dumb chance. So are the best, sadly. They’re fun with four people, but what isn’t? [June 2007, p.92]

The virtual interface does little to help players and, if anything, slows the game down as you wait for it to catch up with things that are already evident to players – such as victory, failure and boredom. [Dec 2007, p.89]

As far as either an authentic simulation or a fun re-imagining goes, it’s like some strange negative of the emperor’s new clothes; the pretty wrapping is there but the body is not. [Mar 2007, p.83]

Too brainless for adults, and increasingly too frustrating and needlessly obtuse for children, Lego Batman makes the simplest mistake any franchise title can: it serves the licence, and nobody else. [Dec 2008, p.89]

In music, bad tribute acts play pubs and weddings: in games, they sit at the top of the charts.

Faithful as a bloodhound to the Dreamcast original, this GBA port is a stunning example of when authenticity ought to be sacrificed to utility. This is not a lazy port. But the loyalty of the conversion is ill-advised. [Sept 2003]

Control is also stodgy and unreliable. [Issue#422, p.123]

You get the impression the only person who cares about Kain's legacy any more is the writer. The turgid battling lets an average game down. [Jan 2004, p.107]

Instant deaths, glitchy combat, uninspiring boss encounters and twitchy controls conspire to make this a below-par experience. If it wasn't for the occasional flashes of imagination and the familiarity and richness conveyed through the license then The Emperor's Tomb would be utterly forgettable. [May 2003, p.99]

As [Vince] laments the formulaic impositions of the game in successive cut-scenes, it only serves to remind you how much of a chore it is to play - and raises the question; why does every platform hero have to be a wiseguy? [Dec 2003, p.108]

You wonder if players will have wanted to spend this amount of time loafing around the Homestar Runner universe, or whether their interaction with it is best limited to ten-minute bursts via their web browser. [Oct 2008, p.101]

Screamer becomes repetitive, overly simplistic and needlessly verbose, a hybrid vehicle for narrative and racing where the only thing less engaging than the off-track drama is the driving itself. [Issue#423, p.114]

You can see things worth admiring here. The promise of sandbox combat emerging from the interplay between environment and gun-modes never comes good, instead devolving into a repetitive, gruelling bedlam - but that promise alone is more than many shooters offer. To make anything of it, however, Hard Reset would need to go right back to the drawing board.

European Assault is one of the ugliest current-gen games we’ve seen. Boring textures, a weak palette and a flimsy design ethic all round make it appear like slightly dressed up PSone data. The animation seems inspired by amateur puppetry and even the menus look like they were knocked up in the last day before submission. [Aug 2005, p.94]

The last thing on Glory Days’ mind is fun: it instead angrily stomps forward to the beat of the ‘war is hell’ drum. [Oct 2007, p.99]