While it doesn't reach the upper echelon of 3D platformers, the fact that it bolsters a genre so starved these days, as many indies stay in their two-dimenstional lane, while 3D games take a more serious tone, is worth celebrating, especially when its overt cultural charms are so endearing. [Issue#403, p.118]

It's both startling and amusing to see a rival expressing annoyance, befuddlement or smugness. [Issue#387, p.110]

As efficiently and proficiently designed as Logan’s Shadow is, it’s unavoidably tied to the problems associated with action games of this type on PSP. [Feb 2008, p.96]

Wideload has placed a welcome knee in the groin of the status quo, but by taking its subject too lightly it's also failed to turn an adventurous prototype into a durable production. [Christmas 2005, p.102]

Alluringly lurid, but ultimately disposable. [Dec 2009, p.92]

If the narrative wrapper hardly registers while you're playing, the incidental dialogue can be quite witty. [Issue#377, p.121]

Guitar Hero has one of the most intuitive and subtle control systems of any game, but here it becomes increasingly subservient to making the game – yes – rock hard, and for the average player will often descend into button-mashing. [Christmas 2007, p.98]

If the Crew's ultimate fate is to be a kind of racing game variety pack, the role seems to suit it. [Issue#390, p.126]

A music game, like a DJ, is only as good as the contents of its record crate. Fuser hasn't done enough digging. [Issue#353, p.119]

Despite the absence of punishing deadlines, though, maybe this escape is a little too much like work after all. [Issue#403, p.122]

Playing against AI can throw up a challenge, but requires patience. Higher difficulties give the AI more time to think, but DTOL's real problem is its interface. It's simple to the point of crudity, but functionally it can be opaque and cluttered, making a reasonably complex game seem even more so while you're figuring out the rules. Get past that, and there's an acute psychological game to be played in DTOL, but it'll require time – and an extra player – to find it.

As far as plot-twist clichés go, Downpour trots out all of the usual suspects.

It is pleasantly diverting, the kind of game it's easy to gobble up in a couple of long sittings - but equally there's little to really stir the blood. It may have gorgeous particle effects in abundance, but what it's really missing is a spark. [Issue#364, p.110]

No one thing ruins Cavorite, but its pile of minor faults eventually overshadow its charisma. The levels can be ingenious, and Dr Cavor's quirky animations and great gimmick feel fresh, but the experience soon devolves into attrition rather than a challenge.

As much as it's captivating to soak in the atmosphere Selfloss creates, you should prepare for some choppy waters. [Issue#403, p.123]

This sense of verite is the game's greatest strength. [Issue#377, p.123]

Sir, You Are Being Hunted needs something more – a change in objective, focus or challenge to sustain engagement beyond the point when snatching teleporter pieces from robots on the coast loses its sense of mystery. As it is, it’s caught in an awkward hinterland of its own.

Too often in Forestrike, you lose because you do what the game invites you to do. [Issue#418, p.122]

The Occupation's design could take a few cues from its world when it comes to balancing the analogue and the digital. [Issue#331, p.112]

Nintendo is famed for sprinkling around mechanics other developers would build entire games on, but here the effect is quite irritating. [Oct 2008, p.97]

This is a game of contradictions, then. It's an impressive exercise in mystery construction that often cringes at its own geeky strengths, masking its intelligence behind juvenile posturing. But at the same time its technical shortcomings rob it of that swagger, its anime stylings lacking the gloss you'd expect from the cocksure tone. Much can be forgiven when you're submerged in its waterlogged crimes, but you never quite shake the sense that Master Detective Archives is raining on its own parade. [Issue#387, p.118]

Performance issues, some ugly world assets and the story's pacing issues undermine the entertaining combat. [Issue#361, p.104]

It remains an early PS Move highlight, but one that can't boast the charm or accessibility of its Wii rivals, despite the improved tech. [Nov 2010, p.92]

But there's no denying that this feels like straightforward filler, granting rewards without ever feeling rewarding. Much like the brainwashed metahumans the game asks us to put down, we expect the highs of this reluctant forever game are already behind it. [Issue#395, p.104]

Undemanding kids will have a whale of a time, but from an innovator like Sackboy, we've come to expect a little more. [Issue#353, p.121]

The solid presentation and well-adjusted linear flow of the game make it simple, if mindless, fun. [Jan 2008, p.85]

Spider-Man 2 presents players with a city ripe for action and exploration, but once you swing down out of the clouds and take a closer look at the grubby streets and roads strewn with vehicles, you'll find little to pique your interest. [Sept 2004, p.100]

The whole is far greater than the subtraction of its failures would suggest, and will attract many put off by the wonderfully absurd complexities of Nippon Ichi’s brazen coup. [July 2005, p.90]