Sadly, encounters with enemy AI - particularly in combat - are by far the weakest link in an otherwise enjoyable effort. [Apr 2005, p.98]

Sadly, encounters with enemy AI - particularly in combat - are by far the weakest link in an otherwise enjoyable effort. [Apr 2005, p.98]

It isn't any kind of reinvention, but a revitalisation, with a style so rich that it becomes an integral part of the game's substance; Psychonauts breathes imagination and individuality as effortlessly as most games steal from one another. [July 2005, p.84]

It isn’t any kind of reinvention, but a revitalisation, with a style so rich that it becomes an integral part of the game’s substance; Psychonauts breathes imagination and individuality as effortlessly as most games steal from one another. [July 2005, p.84]

Ends up feeling like it’s been built by PC game developers obsessed with quick saves. There’s absolutely no creative latitude; it’s a case of remembering where enemies appear and getting them before they get you. [May 2005, p.86]

The end result is a rather cold and uninvolving game. Too subtle to be a Tetris replacement, too plain to be an engaging puzzler, Chokkan Hitofude adds up to something a little greyer than its crisp black-and-white stylings might suggest. [JPN Import; Jan 2005, p.95]

An ambitious and largely successful attempt to meld the accuracy of traditional firstperson battling with the extra spatial agility and awareness afforded by thirdperson movement. It does feel slightly overdone, but not to the point of obscuring its offering of intensity and flighty action. [May 2005, p.90]

We’ve a right to enjoy this kind of brainless, murderous throwback, but we’ve also a right to expect it to be made to the standards of videogames of five years ago, never mind those of today. [July 2005, p.91]

Despite its paucity of detail, Jade Empire is still many, many things, some are fine and some poor, but for a game to contain so much is a testament to its breadth, and the reason why it'll remain a worthwhile expedition for many. [June 2005, p.80]

We've a right to enjoy this kind of brainless, murderous throwback, but we've also a right to expect it to be made to the standards of videogames of five years ago, never mind those of today. [July 2005, p.91]

There’s no question that DUB Edition can be pleasurable, especially in the multiplayer games, but the Career mode too often feels like graft. There are tournaments, one-off street races and ‘special’ events, but each individual race feels much the same as the last. [June 2005, p.92]

There's no question that DUB Edition can be pleasurable, especially in the multiplayer games, but the Career mode too often feels like graft. There are tournaments, one-off street races and 'special' events, but each individual race feels much the same as the last. [June 2005, p.92]

Mercury exhibits a perfect hierarchy of challenge and reward... The pain becomes the pleasure because, in spite of the extraordinary degree of trial and error (practically requiring a degree in the subject), there’s never any moment that feels broken or exploitative. [June 2005, p.91]

Ends up feeling like it's been built by PC game developers obsessed with quick saves. There's absolutely no creative latitude; it's a case of remembering where enemies appear and getting them before they get you. [May 2005, p.86]

The extreme volatility of every moment carries a reward that overshadows the annoyances. [June 2005, p.85]

Though the game’s confidence falters, its storytelling never does, building a new myth with the kind of passion and resonance expected from an eastern retelling of an old one, and enriching the entire sweep of its universe. [June 2005, p.84]

Kids are often underestimated, but that doesn't mean their games should be. Lego Star Wars has an appeal that goes beyond age, even if it's one that rarely goes beyond 20 minutes at a time. [May 2005, p.84]

Kids are often underestimated, but that doesn’t mean their games should be. Lego Star Wars has an appeal that goes beyond age, even if it’s one that rarely goes beyond 20 minutes at a time. [May 2005, p.84]

Kids are often underestimated, but that doesn’t mean their games should be. Lego Star Wars has an appeal that goes beyond age, even if it’s one that rarely goes beyond 20 minutes at a time. [May 2005, p.84]

Chaos Theory is the game that the original Splinter Cell was meant to deliver: a tight play experience within a trusty framework, one more of enjoyment than irritation, and a game that's no longer exclusively for fans of repeated reloading. [Apr 2005, p.97]

Even the most dedicated player’s are likely to fall out of love with the game more frequently than its promise of unstoppable motion and a world outside slate-grey corridors (which becomes more distant as the game progresses) can entice them back. [May 2005, p.83]

Ironically, this series is unlikely to blossom until its popularity wanes and Koei stops being afraid to change it. [July 2005, p.95]

Even the most dedicated player's are likely to fall out of love with the game more frequently than its promise of unstoppable motion and a world outside slate-grey corridors (which becomes more distant as the game progresses) can entice them back. [May 2005, p.83]

Levels feature numerous boss battles and a stream of identikit foot soldiers, but merrily send the player back to square one when their lone life is over and make the singleplayer story mode an agonising exercise in self-abuse. [June 2005, p.88]

Chaos Theory is the game that the original Splinter Cell was meant to deliver: a tight play experience within a trusty framework, one more of enjoyment than irritation, and a game that’s no longer exclusively for fans of repeated reloading. [Apr 2005, p.97]

Chaos Theory is the game that the original Splinter Cell was meant to deliver: a tight play experience within a trusty framework, one more of enjoyment than irritation, and a game that’s no longer exclusively for fans of repeated reloading. [Apr 2005, p.97]

Chaos Theory is the game that the original Splinter Cell was meant to deliver: a tight play experience within a trusty framework, one more of enjoyment than irritation, and a game that's no longer exclusively for fans of repeated reloading. [Apr 2005, p.97]

Even if the overall package is less than the sum of its parts, an arcade-perfect port of Vampire Saviour is impressive enough alone, and the PSP’s screen definition infuses the visuals with their original, unmistakable vibrancy. [Feb 2005, p.82]

It represents a sublimely efficient means by which to enjoy competitive multiplayer an on all-new platform, doing so amid a shower of sparks. [June 2005, p.94]

THUG 2 Remix stand straight and tall, offering the series’ trademark open-ended combo blitzing in the form of a solid repackaging, albeit one that’s more a testament to the PSP’s potential rather than a true exploitation of it. [June 2005, p.94]

From the near-pornographic money-shot that occurs during the slo-mo moments of certain vicious attack combos, to the ludicrous events that send the player travelling down a monster's throat, God of War is made from the stuff of legend, to become the stuff of legend.

Racers has an appealing lack of pretension that suggests it has nothing to prove other than that Ridge Racer is a delight to play. And it is, with no call for caveat – for a handheld, for a ‘remake’, for a launch title. It's simply one of the best pure arcade racers to date. [JPN Import; Feb 2005, p.68]

In refusing to let the PSP’s home-console-style graphical capabilities dictate the nature of its gameplay, Acid is a valuable blueprint for future PSP development. [Feb 2005, p.77]

Minor lapses in cohesion and polish drop Lumines short of the absolute completeness of "Rez," but it expands upon its concepts in ways even Mizuguchi followers couldn't have expected. It's a block puzzle that celebrates the joy of light and sound – to the question of whether the PSP can encourage new experiences, it's a resounding 'yes'.

As a portable title, Untold Legends knows that its payoff has to be immediate and frequent and it graciously complies, with even the briefest morning commute diversion yielding at least one quest completed, at least one level gained and frequently another full wardrobe change rounding off a constant feeling of accomplishment. [June 2005, p.86]

Though it’s regrettable that Sony opted for a retrofit rather than a rebirth, and while series stalwarts might initially balk at controls that fit awkwardly, given a chance the cat-and-mouse charm shines through, and make On The Loose a fine first stab at a new wave of portable platforming. [May 2005, p.93]

As forgettable as the story mode is, this is a game that should be judged by the pleasure it can bring to a room full of gamers eager for furious arena combat and a splendid variety of team games. And judged by those criteria, it has few peers. [Apr 2005, p.94]

As forgettable as the story mode is, this is a game that should be judged by the pleasure it can bring to a room full of gamers eager for furious arena combat and a splendid variety of team games. And judged by those criteria, it has few peers. [Apr 2005, p.94]

As forgettable as the story mode is, this is a game that should be judged by the pleasure it can bring to a room full of gamers eager for furious arena combat and a splendid variety of team games. And judged by those criteria, it has few peers. [Apr 2005, p.94]

For the promising set-up, it collapses in the heat of battle. Nearly a full third of the PSP’s screen is filled by a clumsy status display, clipping the peripheral vision that would have been so useful in the chaos of a Dynasty scrum. [Feb 2005, p.79]

There's no question that Wipeout Pure is a very fine Wipeout game and, thanks to its lively, dynamic soundscape and its distinct, exhilarating handling, it deserves three out of three just as much as a score out of ten.

Plenty of games have flourished around the slaughter, scale and destruction of war, but few have managed to realise a soldier’s role and worth - disposable, vulnerable, pivotal - as well as this. [Apr 2005, p.100]

While Snowblind never truly escapes the feeling of being a well-dressed, derivative run’n’gun shooter, it never fails to get the running and gunning right, and in that respect, at least, it’s a sound success. [March 2005, p.86]

Taken in isolation, there’s no denying Cold Fear’s panache - RenderWare has rarely been used to such strong visual effect - and there is a fair helping of survival horror entertainment to be had here, it’s just that you have to dig through several layers of frustration to get at it. [Apr 2005, p.96]

While it feels dynamic for what is, essentially, an RPG of skill harvesting and exploiting, the end result is more about flexibility than exhilaration, more a colourfully-framed and extended session of rock-paper-scissors than any kind of rush. [June 2005, p.87]

Taken in isolation, there's no denying Cold Fear's panache - RenderWare has rarely been used to such strong visual effect - and there is a fair helping of survival horror entertainment to be had here, it's just that you have to dig through several layers of frustration to get at it. [Apr 2005, p.96]

It certainly lacks the variety and sense of progress that great platform games can offer. But then it was never supposed to be a great platform game. It was supposed to be, and is, a great DS game. [Apr 2005, p.102]

Game designers talk of emphasising character through dialogue or animation, but his may be the first incidence of a game emphasising it through a control method. Its immediacy means you'll share every inch of his swaggering, gleeful, unstoppable violence. [Feb 2005, p.78]

Ignore the presentation, the much-talked-about comic book inspiration. Ignore the artwork, the ridiculous voiceovers and the magnificent origin stories. Pay it no attention. The really funny thing about Freedom Force is how little the funny stuff matters. [May 2005, p.89]

Plenty of games have flourished around the slaughter, scale and destruction of war, but few have managed to realise a soldier’s role and worth - disposable, vulnerable, pivotal - as well as this. [Apr 2005, p.100]

An overall shoddy feeling to the production spoils a great deal more. Where there should be panache, there are rough edges. As a comedy, it achieves much. It is funny. But as a sports game a great deal more polish is required. [Sept 2004, p.106]

Your main objective is the bane of the modern FPS: follow a little blue arrow while shooting things, with the odd escort or protect responsibility thrown in to make you turn around occasionally. It's average justice dished out to the licence, but nothing more. [Christmas 2003, p.121]

Encounters feel needlessly protracted - born of a stubborn refusal to admit the game’s fundamental lack of content. The layout of scenery predetermines your every gambit before enemies blithely meander into your squad’s unlimited gunfire. [Apr 2005, p.101]

It’s a strange situation for the series to truly hit its stride in a game that’s both beginning and conclusion, and you can’t help but wish Dante would never grow up, that there could have been more stories of his teenage roundhouse kicks. [Apr 2005, p.90]

Plenty of games have flourished around the slaughter, scale and destruction of war, but few have managed to realise a soldier's role and worth - disposable, vulnerable, pivotal - as well as this. [Apr 2005, p.100]

Singleplayer is weak - despite well-worked tutorial and mission modes it always feels like target practice for combat with friends - and the lack of online support disappoints. But despite a potentially hazardous dimensional switch, it remains as appealing a way of antagonising your friends as ever. [Dec 2003, p.108]

Your main objective is the bane of the modern FPS: follow a little blue arrow while shooting things, with the odd escort or protect responsibility thrown in to make you turn around occasionally. It's average justice dished out to the licence, but nothing more. [Christmas 2003, p.121]

With a superior control system and a raft of incisive upgrades, this year’s update is a connoisseur of the boxing arts. [Apr 2005, p.103]

Encounters feel needlessly protracted - born of a stubborn refusal to admit the game's fundamental lack of content. The layout of scenery predetermines your every gambit before enemies blithely meander into your squad's unlimited gunfire. [Apr 2005, p.101]

With a superior control system and a raft of incisive upgrades, this year's update is a connoisseur of the boxing arts. [Apr 2005, p.103]

With a superior control system and a raft of incisive upgrades, this year's update is a connoisseur of the boxing arts. [Apr 2005, p.103]

While Heritage Of Kings has taken the series in a new direction without completely uprooting itself from the settlement-crafting past, it’s not been a successful evolution. Even the most lethargic and undemanding of gamers will quickly become bored of the gambolling wildlife and labouring peasants. [March 2005, p.87]

While a misplaced desire for innovation once pushed it off course, the series has found its way home. Though it may never learn consistency, it’s remembered how to keep even the most jaded gamer beguiled. [May 2005, p.80]

Your main objective is the bane of the modern FPS: follow a little blue arrow while shooting things, with the odd escort or protect responsibility thrown in to make you turn around occasionally. It's average justice dished out to the licence, but nothing more. [Christmas 2003, p.121]

Your main objective is the bane of the modern FPS: follow a little blue arrow while shooting things, with the odd escort or protect responsibility thrown in to make you turn around occasionally. It's average justice dished out to the licence, but nothing more. [Christmas 2003, p.121]

Gran Turismo 4 is fundamentally unconcerned with furthering the art of the videogame. This titanic franchise, this critical, load-bearing pillar of PlayStation, is barely even a videogame at all. It’s a hobbyist software suite, a racetrack tutorial, an encyclopaedia you can get in and drive off. [March 2005, p.78]

While Snowblind never truly escapes the feeling of being a well-dressed, derivative run’n’gun shooter, it never fails to get the running and gunning right, and in that respect, at least, it’s a sound success. [March 2005, p.86]

Fortunately, the backbone of strategy means that behind every chaotic disaster lies the digestible conclusion that, with better planning, it could have been avoided. [May 2005, p.87]

While Snowblind never truly escapes the feeling of being a well-dressed, derivative run'n'gun shooter, it never fails to get the running and gunning right, and in that respect, at least, it's a sound success. [March 2005, p.86]

The most dedicated of slash ‘em up fans may be willing to ride out the disparity between Nano Breaker’s furious highs and comatose lows, but this just doesn’t feel like an experiment made for the player’s benefit – unless it’s one borne out by the next Castlevania. [March 2005, p.91]

The player is required to reap their principle enjoyment from the narrative and the cinematic rather than the interactive. The traditional flow of play has been turned on its head: cut-scenes are the new king, gameplay elements little more than lines to link the drama. [Apr 2005, p.104]

Few games can capture the sense of being in the hunt so well, and by degrees few games can disappoint so much when this sense is lost to wrangling with the camera or gawkish, unpredictable controls shackling your weightlessness. [Oct 2004, p.108]

Constantine’s narrative is compelling enough, and some excellent puzzles save it from the ignominy of being yet another average third-person movie tie-in, but only just... Yes it’s uncomplicated, but still an engaging realisation of the source material. [Apr 2005, p.99]

It may be formulaic, but that formula is still one of invention, surprise and excellence. [Jan 2005, p.87; JPN Import]

Constantine's narrative is compelling enough, and some excellent puzzles save it from the ignominy of being yet another average third-person movie tie-in, but only just... Yes it's uncomplicated, but still an engaging realisation of the source material. [Apr 2005, p.99]

Perhaps the saddest misunderstanding in Assault, though, is its pedestrian, linear structure. There's nothing wrong with it, but the multiple routes and secret branches of the earlier titles bound levels into a taut, short, player-directed adventure that was always seamless and could never be fully experienced in one sitting... Without it, Assault is a jumbled, disposable thrill. [Apr 2005, p.92]

It's almost as if Capcom has distilled its Onimusha series, extracting the two core components of the franchise ' epic, fierce confrontations, and puzzle-pocked exploration of lavish settings ' and given each more room to breathe, with their own character, style, atmosphere and pace... Fresher, but not better. [Jan 2005, p.82]

The game’s sluggishness is all-pervasive, from Williams’ lethargic climb to the pauses between moving from third- to firstperson when you duck underwater... Death By Degrees progresses at such a sedate pace it’s almost relaxing. [March 2005, p.89]

Ironically, it’s people who haven’t played Champions rather than veterans who could find the most to like, given that it’s a year’s worth of tweaks and polish on that game’s largely positive foundation. [Apr 2005, p.105]

A game world that keeps bettering itself, until some kind of disbelief sets in. This dazzling technical feat is mirrored by some terrifyingly fast loading times, with no in-game loading and restarts from any save point in the whole world taking around two seconds. [Feb 2005, p.72]

Once you’ve wiped away the layer of gore, you’re left with an experience that, expectedly, offers limited entertainment. [March 2005, p.85]

Once you’ve wiped away the layer of gore, you’re left with an experience that, expectedly, offers limited entertainment. [March 2005, p.85]

Once you've wiped away the layer of gore, you're left with an experience that, expectedly, offers limited entertainment. [March 2005, p.85]

A soulless videogame that stands as a grave indictment of how stale a series can become if it loses its spark of creativity and imagination. [March 2005, p.93]

Six 'f*cks' in the opening cut-scene set the tone for a game that's desperate to appear edgy, uniquely British and grown up... Ironically, the script is so desperate to be adult that it ends up sounding as mature as a teenager rebelling against school uniform. [Christmas 2004, p.85]

So, is this what we were expecting from Capcom – a revolution in survival horror? No... It's an interactive B-movie, but one filled with sights, sounds and thrills that will linger in the memory long after the content of more sophisticated titles has been forgotten. [March 2005, p.76]

An incredibly solid universe with barely a technical glitch to be found, but it’s soulless and almost bereft of plot or character. This is a sandbox game that’s begging for a purpose. [March 2005, p.80]

It would be easy to take The Minish Cap for granted, left as it is with little to do but shuffle and tinker with its immaculate heritage. That, however, would be a grave mistake... Maybe you can't go wrong with the Zelda template, but they haven't always gone this right. [Christmas 2004, p.91]

An incredibly solid universe with barely a technical glitch to be found, but it's soulless and almost bereft of plot or character. This is a sandbox game that's begging for a purpose. [March 2005, p.80]

Mechs are the only interesting offline opponents, but in a way that causes the action to feel stuttered: these encounters are engaging due to the sensation of one-on-one combat, but those of Lone Wolf are so ponderous that most fights become wars of attrition... As a result, the game can't throw enough of them at you to make the skirmishes feel genuinely intense of chaotic. [Feb 2005, p.76]

Levels feel more segmented and less regimented, and the better for it. There’s no cheap, wholesale reduction of difficulty, just what feels like a more balanced play experience. [Jan 2005, p.84]

This is more than just a cynical cash-in conversion, but in pitching itself as a kind of '1.5' iteration it's never clear if the game is a necessity or a distraction for devotees of the Kingdom Hearts universe. For all but the most ardent follower, its off-target execution will imply the latter. [Feb 2005, p.80]

As clumsy as some elements feel, it's still difficult to vilify KOTOR II. Its strength is in its ability to make you care about your character's fate, and as an RPG package it's as comprehensive as they come. [Feb 2005, p.70]

Ubisoft has taken a flawed game of boundless promise, destroyed some (but not all) of its appeal, fixed some (but not enough) of its problems, and jeopardised the whole endeavour by making the same mistake twice and rushing it to market before it was steady on its feet. Prince of Persia is strong and supple enough to survive this with many of its immense virtues intact. But it deserved so much better. [Christmas 2004, p.80]

Ubisoft has taken a flawed game of boundless promise, destroyed some (but not all) of its appeal, fixed some (but not enough) of its problems, and jeopardised the whole endeavour by making the same mistake twice and rushing it to market before it was steady on its feet. Prince of Persia is strong and supple enough to survive this with many of its immense virtues intact. But it deserved so much better. [Christmas 2004, p.80]

Drill Spirits is a well-rounded introduction to the series, but falls far short of its greatest successes. [Feb 2005, p.82]

Ubisoft has taken a flawed game of boundless promise, destroyed some (but not all) of its appeal, fixed some (but not enough) of its problems, and jeopardised the whole endeavour by making the same mistake twice and rushing it to market before it was steady on its feet. Prince of Persia is strong and supple enough to survive this with many of its immense virtues intact. But it deserved so much better. [Christmas 2004, p.80]

Ubisoft has taken a flawed game of boundless promise, destroyed some (but not all) of its appeal, fixed some (but not enough) of its problems, and jeopardised the whole endeavour by making the same mistake twice and rushing it to market before it was steady on its feet. Prince of Persia is strong and supple enough to survive this with many of its immense virtues intact. But it deserved so much better. [Christmas 2004, p.80]